i '  \ 


THE  STANDARD  LIGHT  OPERAS 


By    GEORGE    P.    UPTON 

MUSICAL   HANDBOOKS 
THE  STANDARD  OPERAS 
THE  STANDARD  ORATORIOS 
THE  STANDARD  CANTATAS 
THE  STANDARD  SYMPHONIES 
THE  STANDARD  LIGHT  OPERAS* 
lamo.     Yellow  edges.     Per  volume,  $1.50 


WOMAN    IN    MUSIC 

i6mo.     $1.00 

MUSICAL  PASTELS:  A  Series  of 
Essays  on  Quaint  and  Curious  Musical 
Subjects. 

Large  8vo.     With  ten  full-page  illustrations  from 
rare  wood  engravings. 

A.   C.   McCLURG  &  COMPANY         CHICAGO 


THE 

STANDARD  LIGHT  OPERAS 

THEIR  PLOTS   AND   THEIR  MUSIC 


By   GEORGE    P.   UPTON 
ii 

AUTHOR   OF   "the   STANDARD   OPERAS,"   ETC. 


UNIVER 

OF 

C4I JUQ. 


CHICAGO 

A.  C.  McCLURG  &  CO. 

1902 


\-\  \   I 


o 


nFNERAL 

Copyright 

A.    C.    McClurg  &  Co. 

1902 


Published  September  13,   190a 


1 


TO    MY    FRIEND 

CHARLES    C.  CURTISS 


102940 


PREFACE, 


THE  present  volume,  ''The  Standard  Light 
Operas,"  has  been  prepared  not  only  with  the 
hope  that  it  may  supply  a  popular  want  in  these 
days  when  the  light  opera  is  so  much  in  vogue, 
but  also  with  the  purpose  of  completing  the  series 
which  the  author  has  already  compiled,  including 
the  opera,  oratorio,  cantata,  and  symphony.  It  has 
been  somewhat  difficult  to  select  from  the  "em- 
barrassment of  riches  "  in  the  material  offered  by 
the  profusion  of  operettas,  musical  comedies,  and 
legitimate  light  operas  which  have  been  produced 
during  the  last  few  years,  and  which  are  still  turned 
out  with  almost  bewildering  rapidity.  Still  more 
difficult  is  it  to  determine  accurately  those  among 
them  which  are  standard.  A  few^of  the  lighter 
works  which  are  contained  in  the  original  edition  of 
the  "  Standard  Operas  "  have  been  recast,  as  they 
properly  belong  in  a  work  of  this  kind,  and  as  they 
may  answer  the  needs  of  those  who  have  not  the 
former  volume.  The  opera  comique  and  the  opera 
boiiffe  are  also  represented  by  the  best  of  their 
class,  those  whose  text  is  clearly  objectionable  being 


viii  PREFACE. 

omitted.  The  entire  list  of  the  characteristic  and  de- 
hghtful  operettas  by  the  late  Sir  Alexander  Sullivan 
is  included,  and  some  of  the  musical  comedies 
which  have  a  strong  hold  upon  popular  admiration. 
The  operas  have  not  been  analyzed  with  that  close- 
ness of  detail  which  characterizes  the  "  Standard 
Operas,"  as  they  do  not  call  for  treatment  of  that 
kind,  and  in  manv  cases  the  leading  numbers  are 
only  suggested,  rfhey  are  described  rather  than 
criticised,  and  as  they  have  been  compiled  solely  for 
the  use  of  the  general  public  they  have  been  pre- 
sented as  untechnically  as  possible^  They  are  in- 
tended to  heighten  popular  enjoyment  rather  than 
to  supply  information  for  musicians,  and  as  a  vade 
mecmn  for  the  opera-goer  rather  than  a  reference 
for  the  musical  student. 

G.  P.  U. 

Chicago,  August,  1902. 


CONTENTS 


PAGE 

ADAM 

The  Postilion  of  Lonjumeau 15 

AUBER 

Fra  Diavolo 19 

The  Crown  Diamonds 22 

AUDRAN 

Olivette 26 

The  Mascot 29 

BALFE 

The  Bohemian  Girl 33 

The  Rose  of  Castile      .    .    .    , 36 

BELLINI 

La  Sonnambula 4° 

BENEDICT 

The  Lily  of  Killarney 43 

BOIELDIEU 

La  Dame  Blanche 47 

CELLIER 

Dorothy 5° 

CHASSAIQUE 

Falka ...    52 


X  CONTENTS. 

PAGB 

DeKOVEN 

Robin  Hood 57 

Maid  Marian •  60 

Rob  Roy 63 

The  Fencing-Master 67 

DELIBES 

LAKMfe 70 

DONIZETTI 

The  Daughter  of  the  Regiment    ....  "j-}, 

Don  Pasquale 76 

Linda 78 

The  Elixir  of  Love 81 

EICHBERG 

The  Doctor  of  Alcantara 84 

FLOTOW 

Martha 87 

Stradella 90 

GEN^E 

Nanon 93 

GOUNOD 

Mirella 97 

HUMPERDINCK 

Hansel  and  Gretel 100 

JAKOBOWSKI 

Erminie 103 

LECOCQ 

Girofle-Girofla 106 

La  Fille  de  Madame  Angot 109 

lOrtzing 

Czar  and  Carpenter 113 


CONTENTS.  xi 

PAGE 

LUDERS 

King  Dodo .- ii6 

The  Prince  of  Pilsen ii8 

MASSfi 

Paul  and  Virginia 121 

Queen  Topaze 124 

The  Marriage  ©f  Jeannette 126 

MILLOCKER 

The  Beggar  Student 128 

The  Black  Hussar 131 

NESSLER 

The  Trumpeter  of  Sakkingen 134 

NICOLAI 

The  Merry  Wives  of  Windsor 138 

OFFENBACH 

The  Grand  Duchess  of  Gerolstein    ...  141 

La  Belle  H^l^ne 145 

Orpheus 148 

PLANQUETTE 

The  Chimes  of  Normandy  ........    152 

RICCI 

Crisping 155 

ROSSINI 

The  Barber  of  Seville 158 

SOLOMON 

Billee  Taylor 161 

SOUSA 

El  Capitan 164 


Xii  CONTENTS. 

PAGE 

STRAUSS 

The  Mkrry  War 167 

The  Queen's  Lace  Handkerchief  ....  169 

Queen  Indigo 171 

Die  Fledekmaus  (The  IjAt) 174 

STUART 

Florodora 177 

SULLIVAN 

Cox   AND  Box iSo 

Trial  by  Jury 1S2 

The  Sorcerer 185 

IL  M.  S.  Pinafore 188 

The  Pirates  of  Penzance 193 

Patience 196 

Iolanthe 200 

Princess  Ida 203 

The  Mikado 206 

Ruddygore 209 

The  Yeomen  of  the  Guard 213 

The  Gondoliers 216 

SUPPfi 

FaTINITZA 220 

Boccaccio 224 

The  Beautiful  Galatea 227 

THOMAS 

MiGNON 230 

WALLACE 

Maritana 233 

Lurlink 236 


THE  STANDARD  LIGHT  OPERAS 


THE 

STANDARD  LIGHT  OPERAS. 


ADAM,   ADOLPHE   CHARLES. 
dLU  Postilion  of  loniumeau. 

[Op6ra  comique,  in  three  acts ;  text  by  De  Leuven  and  Bruns- 
wick. First  produced  at  the  Opera  Comique,  Paris,  October 
13,  1836.] 

PERSONAGES. 

Chapelou,  postilion. 
Madeleine,  mistress  of  the  inn. 
Marquis  de  Courcy,  opera  manager. 
Bijou,  village  blacksmith. 
BouDON,  chorus  leader. 
[Villagers,  chorus  singers,  etc.] 

The  scene  of  the  opera  is  laid  in  Lonjumeau,  a  French  village, 
and  Paris ;  time  of  Louis  the  Fifteenth. 

THE  sprightly  opera  "  The  Postilion  of  Lon- 
jumeau "  is  characterized  by  grace  and 
elegance  of  treatment,  fascinating  rhythm,  and  odd 
contrasts  in  effects.  Its  plot  is  very  dramatic, 
and  affords  ample  scope  for  humorous  action.  The 
opening  scene  of  the  first  act  introduces  us  to  the 
wedding  of  Chapelou,  the  postilion,  and  Made- 
leine, mistress  of  the  inn.  During  the  merriment 
which  follows,  the  Marquis  de  Courcy,  Superinten- 
dent of  the  Paris  Grand  Opera,  whose  carriage 


1 6  THE  STANDARD  LIGHT  OPERAS. 

has  broken  down,  makes  his  appearance,  seeking 
the  aid  of  a  wheehvright.  He  hears  Chapelou 
singing,  and  is  so  pleased  with  his  voice  that  he 
offers  him  a  position  in  the  opera.  Chapelou  after 
some  persuasion  accepts,  entreats  Bijou,  the  village 
blacksmith,  to  look  after  Madeleine,  and  goes  off 
with  the  Marquis  in  quest  of  artistic  glory.  Bijou 
informs  Madeleine  of  Chapelou's  baseness,  and  the 
act  closes  with  her  denunciations  of  him,  in  which 
she  is  enthusiastically  assisted  by  the  female  mem- 
bers of  the  wedding-party. 

The  second  act  opens  in  Paris.  Madeleine  has 
inherited  a  fortune  from  an  aunt,  and  makes  her 
appearance  in  the  gay  city  as  a  rich  and  noble 
lady,  under  the  assumed  name  of  Madame  de  la 
Tour.  The  Marquis  de  Courcy,  who  is  in  love 
with  her,  at  her  request  brings  Chapelou,  who  is 
now  a  famous  tenor  known  as  St.  Phar,  Bijou,  the 
Lonjumeau  blacksmith,  who  is  primo  basso  under 
the  name  of  Alcindor,  and  the  operatic  chorus  to 
her  chateau  for  a  rehearsal.  St.  Phar,  not  wishing 
to  sing,  pleads  a  cold,  but  when  he  learns  that  he 
is  in  the  apartments  of  Madame  de  la  Tour  he 
consents,  and  the  rehearsal  goes  ofT  finely.  Left 
alone  with  his  hostess,  he  proposes  to  her  and  is 
accepted,  but  as  he  is  already  married  he  arranges 
that  Boudon,  the  chorus  leader,  shall  play  the  part 
of  priest.  The  Marquis,  who  overhears  the  con- 
spiracy, informs  Madame  de  la  Tour,  who  sends 
for  a  real  priest  and  accompanies  St.  Phar  to  the 
altar,  where  they  are  married  for  the  second  time. 


THE   POSTILION  OF  LONJUMEAU.        17 

In  the  third  act  St.  Phar,  who  fears  that  he  will 
be  hanged  for  committing  bigamy,  finds  a  happy 
escape  from  his  troubles.  The  Marquis,  furious 
because  he  has  been  rejected  by  Madame  de  la 
Tour  in  favor  of  an  opera  singer,  seeks  revenge, 
but  his  plans  are  thwarted.  A  humorous  scene 
ensues,  in  which  St.  Phar  is  tormented  by  Alcindor 
and  the  wedding-party,  as  well  as  by  the  Marquis, 
who  is  now  reconciled.  Finally,  upon  being  left 
alone  in  a  darkened  room  with  Madame  de  la 
Tour,  she  also  aggravates  him  by  personating  two 
characters,  singing  from  different  sides  of  the 
apartment  in  the  voice  of  the  Madame  and  that 
of  Madeleine.  The  denouement  ensues  when  she 
appears  to  him  as  the  veritable  Madeleine  of 
Lonjumeau,  whither  the  joyous  pair  return  and 
are  happy  ever  after. 

The  principal  music  of  the  first  act  is  a  romanza 
for  soprano,  **  Husband  ever  Dear,"  leading  into  a 
dance  chorus;  the  famous  Postilion's  Song  with 
whip-snapping  accompaniment;  and  a  balcony 
serenade  by  Madeleine.  The  second  act  opens 
with  a  long  and  well-written  aria  for  soprano, 
which  is  followed  by  the  rehearsal  scene,  —  a 
clever  bit  of  humorous  musical  writing.  In  the 
course  of  this  scene  the  tenor  has  a  characteristic 
aria,  preceded  by  a  clarinet  obligato,  and  the  basso 
also  has  one  running  down  to  G,  in  which  he 
describes  with  much  gusto  the  immunities  of  a 
basso  with  a  "  double  G."  A  duet  follows  for 
soprano  and  tenor  with  a  cadenza  of  extraordinary 


iS  THE  STANDARD  LIGHT  OPERAS. 

length,  the  act  closing  with  a  finale  in  the  conven- 
tional Italian  style. 

The  third  act  opens  with  a  long  clarinet  solo, 
the  refrain  of  which  is  heard  in  the  close  of  the 
act.  This  is  followed  by  a  "  Good  Night"  chorus 
in  mazurka  time.  The  tenor  then  has  an  aria 
followed  by  a  comic  trio,  which  in  reality  is  a 
duet,  as  the  soprano  is  personating  two  singers 
with  different  voices.  A  duet  and  finale  close 
the  opera,  the  music  of  which  is  of  just  the  class 
to  be  popular,  while  the  action  is  so  sustained  in 
its  humor  as  to  make  the  bright  little  opera  a 
favorite  wherever  heard. 


AUBER,   DANIEL   FRANCOIS   ESPRIT. 
Jra  ^iatjolo. 

[Op^ra  comique,  in  three  acts  ;  text  by  Scribe.  First  produced 
at  the  Op6ra  Comique,  Paris,  January  28,  1830;  in  English,  at 
Drury  Lane  Theatre,  London,  November  3,  1831;  in  Italian,  at 
the  Lyceum,  London,  July  9,  1857.] 

PERSONAGES. 

Fra  Diavolo,  leader  of  the  brigands. 
Lord  Allcash,  English  nobleman. 
Lady  Allcash,  his  wife. 
Matteo,  innkeeper. 
Zerlina,  Matteo's  daughter. 
Lorenzo,  Zerlina's  lover. 
Bepto,      I  ,   .        , 

GIACOMO,  \    ^"g^"^^- 

The  scene  is  laid  at  the  village  of  Terracina,  Italy ;  time,  last 
century. 

THE  first  act  of  this  universally  favorite  opera 
opens  with  the  hurried  arrival  of  Lord 
Allcash,  a  typical  English  tourist,  and  his  wife, 
at  the  inn  of  Terracina,  kept  by  Matteo,  whose 
daughter,  Zerlina,  is  loved  by  Lorenzo,  a  young 
soldier.  The  latter  is  about  to  start  for  the  capture 
of  Fra  Diavolo,  the  leader  of  the  bandits,  when  the 
action  of  the  opera  begins.  The  English  tourists 
have  been  robbed  on  their  journey  by  the  band  of 
this  same  Fra  Diavolo,  who  has  followed  them  in 


20    THE  STANDARD   LIGHT  OPERAS. 

the  disguise  of  a  marquis  and  has  been  very  atten- 
tive to  the  susceptible  Lady  Allcash.  Lord  All- 
cash  has  a  quarrel  with  his  wife  on  this  account  in 
a  humorous  duet,  "  I  don't  object."  Fra  Diavolo 
learns  that  the  travellers  have  saved  the  most  of 
their  valuables,  and  lays  his  own  plans  to  secure 
them.  In  an  interview  with  Zerlina,  she,  mistak- 
ing him  for  the  Marquis,  sings  him  the  story  of  Fra 
Diavolo  in  a  romanza,  "  On  Yonder  Rock  Reclin- 
ing," which  has  become  a  favorite  the  world  over. 
To  further  his  schemes  he  makes  love  to  Lady 
Allcash  in  a  graceful  barcarole,  **The  Gondolier, 
Fond  Passion's  Slave."  In  the  finale  of  the  act 
Lorenzo  and  his  carbineers  return,  and  not  finding 
Fra  Diavolo  at  the  inn,  where  they  had  hoped  to 
surprise  him,  resume  their  search,  leaving  him  to 
perfect  his  plans  for  the  robbery. 

In  the  opening  scene  of  the  second  act  Zerlina 
is  in  her  chamber,  preparing  to  retire.  Before 
doing  so,  she  lights  Lord  and  Lady  Allcash  to  their 
room.  During  her  absence  Fra  Diavolo  and  his 
companions,  Beppo  and  Giacomo,  conceal  them- 
selves in  her  closet,  Fra  Diavolo  having  previously 
given  them  the  signal  that  the  coast  was  clear  by 
singing  a  serenade,  *'  Young  Agnes,"  in  violation  of 
every  rule  of  dramatic  consistency.  Zerlina  re- 
turns, and  after  singing  a  simple  but  charming 
prayer,  "  Oh  !  Holy  Virgin,"  retires  to  rest.  In 
attempting  to  cross  the  room  they  partially  awake 
her.  One  of  the  bandits  rushes  to  the  bed  to  stab 
her,  but  desists  from  his  purpose  as  he  hears  her 


FRA   DIAVOLO.  21 

murmuring  her  prayer.  Then  follows  a  trio  by  the 
robbers,  sung  pianissimo,  which  is  very  dramatic 
in  its  effect.  At  this  point  the  carbineers  return 
again,  and  the  house  at  once  is  in  an  uproar.  Lord 
and  Lady  Allcash  rush  in  to  find  out  the  cause, 
followed  by  Lorenzo,  who  came  to  greet  Zerlina. 
A  sudden  noise  in  the  closet  disturbs  them.  Fra 
Diavolo,  knowing  that  he  will  be  discovered,  steps 
out  into  the  room,  and  declares  he  is  there  to  keep 
an  appointment  with  Zerlina,  whereupon  Lorenzo 
challenges  him.  He  accepts  the  challenge  and 
coolly  walks  out  of  the  room.  One  of  his  com- 
rades is  captured,  but  to  secure  his  liberty  agrees 
to  betray  his  chief. 

The  opening  of  the  third  act  finds  Fra  Diavolo 
once  more  among  his  native  mountains.  He  gives 
expression  to  his  exultation  in  a  dashing,  vigorous 
song,  "  Proudly  and  wide  my  Standard  flies,"  fol- 
lowed by  the  pretty  rondo,  "  Then  since  Life 
glides  so  fast  away."  As  he  joyously  contemplates 
a  speedy  meeting  with  Lord  and  Lady  Allcash  and 
the  securing  of  their  valuables,  villagers  arrayed  in 
festival  attire  in  honor  of  the  approaching  nuptials 
of  Lorenzo  and  Zerlina  enter,  singing  a  bright  pas- 
toral chorus,  "  Oh,  Holy  Virgin,  bright  and  fair." 
The  finale  of  the  act  is  occupied  with  the  develop- 
ment of  the  scheme  between  Lorenzo,  Beppo, 
and  Giacomo  to  ensnare  Fra  Diavolo,  and  the  final 
tragedy  in  which  he  meets  his  death  at  the  hands 
of  the  carbineers,  but  not  before  he  has  declared 
Zerlina's  innocence.     The  text  of  the  opera  is  full 


2  2  THE  STANDARD   LIGHT  OPERAS. 

of  vivacity  and  humor,  and  the  music  so  bright  and 
melodious  and  yet  artistically  scored  that  it  made 
Auber's  reputation  at  the  Op^ra  Comique. 


CDbe  Croton  2)iamon^c. 

[Op^ra  comique,  in  three  acts;  text  by  Scribe  and  St.  George. 
First  produced  in  Paris  in  1S41  ;  in  English,  at  the  Princess 
Theatre,  London,  May  2,  1844.] 

PERSONAGES. 

Count  de  Campo  Mayor,  Minister  of  Police. 
Don  Henrique,  nephew  of  tlie  Count. 
Don  Sebastian,  friend  of  Don  Henrique. 
Rebelledo,  chief  coiner. 
Catarina,  leader  of  the  coiners. 
Diana,  cousin  of  Don  Henrique. 
The  scene  is  laid  in  Portugal;  time,  1777. 

The  story  of  "  The  Crown  Diamonds,"  one  of  the 
most  melodious  of  Auber's  works,  is  as  follows : 
Don  Henrique,  nephew  of  the  Count  de  Campo 
Mayor,  Minister  of  Police  at  Coimbra,  on  his 
way  to  participate  in  the  coronation  ceremonies 
and  at  the  same  time  to  sign  a  marriage  contract 
with  his  cousin  Diana,  daughter  of  the  Minister  of 
Police,  is  overtaken  by  a  storm  in  the  moun- 
tains and  seeks  shelter  in  a  ruined  castle  near  the 
monastery  of  St.  Huberto.  While  there  he  espies 
Rebelledo,  the  chief  coiner,  and  two  of  his  com- 
rades examining  the  contents  of  his  trunk.  The 
latter,  discovering  him  in  turn  and  thinking  him  a 


THE   CROWN  DIAMONDS.  23 

spy,  rush  upon  him,  but  he  is  saved  by  Catarina,  the 
leader  of  the  gang,  who  returns  him  his  trunk  and 
allows  him  to  depart  upon  condition  that  he  shall 
not  mention  what  he  has  seen  for  a  year.  He  con- 
sents, but  before  he  leaves,  the  gang  is  surrounded 
by  soldiers  led  by  Don  Sebastian,  a  friend  of  Don 
Henrique.  They  make  their  escape,  however,  dis- 
guised as  monks,  while  Rebelledo  and  Catarina 
disappear  through  an  underground  passage,  carry- 
ing with  them  a  mysterious  casket  of  jewels. 

The  second  act  opens  in  the  Chateau  de 
Coimbra,  and  discloses  Don  Henrique  in  love 
with  the  mysterious  Catarina  and  Diana  with  Don 
Sebastian.  As  Diana  and  Don  Henrique  are  sing- 
ing together,  Don  Sebastian  announces  that  an 
accident  has  happened  to  a  carriage  and  that  its 
occupants  desire  shelter.  Catarina  and  Rebelledo 
enter  and  accept  the  proffered  hospitality.  When 
Diana  begins  to  read  the  account  of  a  robbery 
containing  a  description  of  Rebelledo  and  his 
companions,  that  worthy  vanishes,  but  Catarina 
remains  in  spite  of  Don  Henrique's  warning  that 
she  is  in  the  house  of  the  Minister  of  Police.  He 
declares  his  love  for  her,  and  begs  her  to  fly  with 
him  ;  she  refuses,  but  gives  him  a  ring  as  a  souvenir. 
At  this  point  the  Count  enters,  and  announces  that 
the  crown  jewels  have  been  stolen  and  Don 
Henrique's  ring  is  recognized  as  one  of  them. 
Catarina  is  saved  by  Diana,  who  promises  Don 
Henrique  she  will  send  her  away  in  the  Count's 
carriage   if  he   will   refuse   to   sign  the  marriage 


24    THE  STANDARD  LIGHT  OPERAS. 

contract.     He  consents,  and  Catarina  makes  her 
escape. 

The  last  act  opens  in  the  anteroom  of  the  royal 
palace  at  Lisbon,  where  the  Count,  Don  Henrique, 
and  Don  Sebastian  are  present,  and  Diana  awaits 
an  audience  with  the  Queen.  While  they  converse, 
Rebelledo  enters,  announced  as  the  Count  Fuentes, 
and  an  usher  brings  him  word  that  the  Queen  will 
have  private  audience  with  him.  While  awaiting 
her,  Rebelledo  in  a  monologue  explains  that  the 
real  crown  jewels  have  been  pledged  for  the 
national  debt,  and  that  he  has  been  employed  to 
make  duplicates  of  them  to  be  worn  on  state  occa- 
sions until  the  genuine  ones  can  be  redeemed. 
The  Queen  enters,  declares  she  is  satisfied  with 
the  work,  and  makes  Rebelledo  Minister  of  Secret 
Police.  Count  de  Campo  Mayor  then  announces 
to  her  the  decision  of  the  Council  that  she  shall 
marry  the  Prince  of  Spain.  She  declares  she  will 
make  her  own  choice,  and  when  the  Count  remon- 
strates she  threatens  to  confiscate  his  property  for 
allowing  the  crown  jewels  to  be  stolen,  and  orders 
him  to  arrest  his  daughter  and  nephew  for  giving 
shelter  to  the  thieves.  Diana,  suddenly  entering, 
fails  to  recognize  her  as  Catarina,  and  implores 
pardon  for  her  connivance  in  the  escape.  Then 
Don  Henrique  still  further  complicates  the  situa- 
tion. He  recognizes  Catarina,  and  declares  to 
Diana  he  will  seize  her  and  fly  to  some  distant 
land.  His  purpose  is  thwarted  by  his  arrest  for 
treason  upon  the  Queen's  order.     He  rushes  for- 


THE   CROWN  DIAMONDS.  25 

ward  to  implore  mercy  for  Catarina,  when  the 
Queen  reveals  herself  and  announces  that  she  has 
chosen  Don  Henrique  for  her  husband  and  their 
King. 

The  principal  musical  numbers  of  the  opera 
are  Rebelledo's  rollicking  muleteer's  song,  "  O'er 
Mountain  steep,  through  Valley  roaming,"  the 
rondo,  "  The  Young  Pedrillo,"  with  chorus  accom- 
paniment, and  the  lugubrious  chorus  of  the  pseudo 
monks,  "  Unto  the  Hermit  of  the  Chapel,"  in  the 
first  act ;  the  nocturne,  "  The  Brigand,"  closing  in 
gay  bolero  time,  "  In  the  Deep  Ravine  of  the 
Forest,"  Catarina's  bravura  aria,  "  Love  !  at  once 
I  break  thy  Fetters,"  the  duet,  "If  I  could  but 
Courage  feel,"  and  the  beautiful  ballade,  "  Oh  ! 
whisper  what  thou  feelest,"  in  the  second  act ;  the 
usually  interpolated  air,  "When  Doubt  the  Tortured 
Frame  is  rending,"  originally  written  for  Louisa 
Pyne,  who  really  made  the  first  success  for  the 
opera,  and  the  charming  cavatina,  "  Love,  dwell 
with  me,"  sung  by  the  Queen  in  the  last  act. 


AUDRAN,   EDMUND. 


(Bmtttt. 

[Comic  opera,  in  three  acts;  text  by  Chivat  and  Duru.  First 
produced  at  the  Bouffes  Parisiens,  Paris,  November  13,  1879; 
first  American  production,  New  York,  January  7,  18S1.] 

PERSONAGES. 

Captain  de  M6rimac,  of  the  Man  of  War  "  Cormorant," 
Valentine,  his  nephew,  officer  of  the  Rousillon  Guards. 
Due  DES  Ifs,  cousin  of  the  Countess. 
CoQUELicoT,  his  foster  brother. 
Marvejol,  Seneschal  to  the  Countess. 
Oliveti'e,  daughter  of  the  Seneschal. 
Bathilde,  Countess  of  Rousillon. 
Veloutine,  the  Seneschal's  housekeeper. 
Moustique,  Captain's  boy  on  board  the  "  Cormorant." 

[Nobles  of  the  Court  of  Rousillon,  the  watch  of  Perpig- 
nan,  citizens,  gossips,  wedding-guests,  sailors,  etc.] 

The  scene  is  laid  at  Perpignan  on  the  Mediterranean  Sea  ;  time 
of  Louis  the  Fourteenth. 

FOLLOWING  the  English  version  of  the  opera, 
at  the  opening  of  the  first  act  the  villagers 
of  Perpignan  are  greatly  excited  over  the  approach- 
ing marriage  of  Olivette,  the  Seneschal's  daughter, 
and  De  M^rimac,  an  old  sea-captain.  Olivette, 
however,  just  out  of  a  convent,  is  in  love  with  Val- 
entine, a  young  officer  and  the  Captain's  nephew. 


OLIVETTE.  27 

In  the  mean  time  the  Countess  of  Rousillon  is  also 
in  love  with  Valentine  and  has  come  to  Perpignan 
to  see  him.  She  is  at  the  house  of  the  Seneschal, 
and  is  surprised  there  by  Valentine,  who  has 
climbed  her  balcony  expecting  to  find  Olivette. 
The  old  Captain,  who  is  making  slow  progress  with 
his  suit,  writes  to  the  Countess  demanding  Olivette's 
hand.  Valentine  seizes  his  opportunity,  passes 
himself  off  as  the  Captain,  and  marries  Olivette  at 
the  request  of  the  Countess  herself. 

The  second  act  opens  with  a  ball  which  the 
Countess  gives  in  honor  of  the  wedding,  at  which 
Valentine  is  forced  to  personate  both  himself  and 
the  Captain.  The  latter  appears  upon  the  scene, 
and  is  heartily  congratulated  as  the  bridegroom. 
When  Valentine  also  appears  as  the  old  man,  De 
M^rimac  resolves  he  will  have  the  bride  whom 
Valentine  has  secured  by  the  use  of  his  name. 
By  a  little  craft  Olivette  rids  herself  of  her  elderly 
suitor  only  to  encounter  fresh  trouble,  for  the 
Countess  declares  she  will  marry  the  soldier.  A 
plot  is  formed,  the  result  of  which  is  an  order 
sending  the  Countess  out  of  the  kingdom. 

The  opening  of  the  last  act  shows  that  the  plot 
is  partially  successful.  The  Countess  is  a  prisoner 
on  board  De  M^rimac's  vessel,  and  Olivette  and 
Valentine,  who  are  disguised  as  sailors,  seek  a 
vessel  to  take  them  away ;  but  Valentine  is  recog- 
nized and  seized,  Olivette  contrives  to  free  the 
Countess,  and  passes  herself  off  for  her.  Olivette's 
maid,  Veloutine,  pretending  to  be   her  mistress. 


28    THE  STANDARD  LIGHT  OPERAS. 

This  introduces  a  new  complication,  for  the  near- 
sighted Duke  des  Ifs  courts  the  maid,  supposing 
her  to  be  OHvette,  and  boasts  of  it  to  Valentine  in 
the  hearing  of  De  M^rimac.  Both  uncle  and 
nephew  then  renounce  Olivette  until  the  Countess 
returns  and  an  explanation  is  made.  In  the 
dt^nouement  Valentine  is  united  to  Olivette  and 
the  Countess  to  the  Duke,  while  the  old  Captain 
is  advised  to  follow  the  example  of  the  Venetian 
Doges  and  "  marry  the  sea,"  which  he  promptly 
hastens  to  do,  and  follows  his  bride  ever  after. 

The  music  of  ''  Olivette  "  is  light  and  sprightly 
throughout,  the  most  taking  numbers  being  the 
marine  madrigal,  a  song  with  chorus,  "  The  Yacht 
and  the  Brig  "  ;  the  pretty  waltz  song,  "■  O  Heart, 
wherefore  so  light,"  sung  by  the  Countess; 
Olivette's  tyrolienne  song,  ''The  Convent  slept  "  ; 
Valentine's  serenade,  "  In  Quaint  and  in  Mystic 
Word,"  and  Olivette's  characteristic  sob  song, 
"Oh!  my  Father,"  in  the  first  act:  Olivette's 
serio-comic  song,  **  The  Matron  of  an  Hour  "  ;  the 
Countess'  song,  "  When  Lovers  around  Woman 
throng " ;  another  humorous  song  for  Olivette, 
"  I  do  think  Fate,  upon  my  Life  "  ;  a  charming  duet 
for  Olivette  and  the  Countess,  "  Like  Carrier  Dove, 
I  '11  swift  be  flying,"  with  the  refrain,  "  I  love  my 
Love  so  well,"  and  the  jolly  farandole,  "  The  Vin- 
tage over,  then  Maid  and  Lover,"  sung  and 
danced  by  Olivette,  Countess,  and  chorus,  in  the 
second  act :  the  romanza  "  Nearest  and  dearest," 
an    effective  number  for  the  Countess,  and    three 


THE  MASCOT.  29 

delicious  bits  of  nonsense,  —  "  Give  Milk  to  Babes, 
to  Peasants  Beer,"  styled  in  the  score  a  Grog-orian 
chant,  the  ridiculous  legend  "  The  Torpedo  and 
the  Whale,"  and  the  dashing  bolero,  'MVhere 
Balmy  Garlic  scents  the  Air,"  in  the  last  act. 


Cl)e  Mascot. 

[Comic  opera,  in  three  acts ;  text  by  Chivat  and  Duru.  First 
produced  at  the  Bouffes  Parisiens,  Paris,  December  29,  1880;  first 
American  production,  Gaiety  Theatre,  Boston,  April  12,  1881.] 


PERSONAGES. 

Bettina,  the  Mascot. 
FiAMETTA,  daughter  of  Prince  Lorenzo. 
PiPPO,  a  shepherd. 
Lorenzo,  prince  of  Piombino. 
Rocco,  a  farmer. 
Frederic,  prince  of  Pisa. 
Parafante,  sergeant. 
Matheo,  innkeeper. 
[Peasants,  lords  and  ladies  of  court,  soldiers,  etc.] 

The  scene  is  laid  in   Piombino,   Italy ;    time,    the  fifteenth 
century. 

.  The  Story  of  "The  Mascot  "  is  charmingly  ro- 
mantic, and  much  more  consistent  and  coherent 
than  the  usual  plots  of  the  comic  operas.  The 
first  act  opens  with  a  vintage  festival.  The  peas- 
ants are  all  rejoicing  except  Rocco,  the  farmer, 
who  has  had  bad  luck.  Pippo,  his  shepherd, 
whom  he  had  sent  to  his  brother  for  help,  returns 
with   a   basket  of  eggs  and  a  letter  in  which  he 


30    THE  STANDARD  LIGHT  OPERAS. 

informs  Rocco  that  he  has  also  sent  him  Bettina, 
his  turkey-keeper,  who  will  bring  him  prosperity, 
as  she  is  a  mascot.  Pippo,  who  is  in  love  with 
Bettina,  waxes  eloquent  over  her  charms,  but  when 
she  comes  she  is  coldly  received  by  Rocco  and 
ordered  to  go  back.  As  she  is  preparing  to  leave, 
Prince  Lorenzo,  his  daughter  Fiametta,  Prince 
Frederic,  and  others  of  a  hunting-party  arrive  and 
stop  for  refreshment.  Prince  Lorenzo,  who  is  one 
of  the  unlucky  kind,  learns  by  chance  of  Bettina's 
gift,  and  determines  to  take  her  to  his  court ;  but 
Rocco  objects.  The  Prince,  however,  gains  his 
consent  by  promising  to  make  him  Lord  Chamber- 
lain. The  party  sets  off  homeward  with  Rocco  in 
good  spirits  and  Bettina  sad,  while  poor  Pippo  is 
left  behind  disconsolate. 

The  second  act  opens  in  the  palace  at  Piombino, 
where  a  festival  is  to  be  given  in  honor  of  the 
marriage  of  Fiametta  to  Prince  Frederic  of  Pisa. 
Among  the  attractions  of  the  fete  is  an  entertain- 
ment by  a  troupe  of  actors  and  dancers,  the  most 
prominent  of  whom  is  Saltarello,  in  reality  Pippo 
in  disguise.  The  lovers  discover  each  other 
and  plan  an  escape ;  but  Rocco,  who  has  rec- 
ognized Pippo,  frustrates  their  scheme  by  disclos- 
ing his  identity  to  the  Prince,  who  orders  his  arrest. 
The  situation  is  still  further  complicated  by  the 
fickle  Fiametta,  who  has  fallen  in  love  with  Pippo 
and  tells  him  that  Bettina  is  false  and  is  about  to 
marry  Prince  Lorenzo.  At  last  Pippo  and  Bet- 
tina have  a  chance  to  meet,  and  they  make  their 


I 


THE   MASCOT.  3^ 

escape    by   leaping   through   a   window   into   the 
river. 

The  last  act  opens  in  the  hall  of  an  inn  in  Pisa. 
There  has  been  a  war  between  the  two  princes, 
and  Frederic  has  defeated  Lorenzo.  Pippo  has 
been  a  captain  in  the  Pisan  army,  and  Bettina, 
disguised  as  a  trooper,  has  fought  by  his  side. 
They  reveal  their  real  names  to  Frederic,  and 
declare  their  intention  of  marriage.  During  prep- 
arations for  the  wedding  Prince  Lorenzo,  Fiametta, 
and  Rocco,  who  are  travelling  about  the  country  as 
minstrels  to  make  their  living,  owing  to  the  mis- 
fortunes of  war,  meet  the  bridal  party  at  the  inn. 
After  mutual  explanations  Fiametta  returns  to  her 
old  lover  Frederic,  and  Pippo  and  Bettina  are 
married.  The  Mascot  brings  good  luck  to  them 
all  at  last. 

The  most  interesting  numbers  in  the  opera  are 
the  drinking-song,  "All  morose  Thoughts  now 
are  flying "  ;  the  legend  of  the  Mascots,  "  One 
Day  the  Arch  Fiend  drunk  with  Pride,"  sung 
by  Pippo  and  chorus ;  Bettina's  song,  "  Don't 
come  too  near,  I  tell  you  " ;  the  quaint  duet  for 
Bettina  and  Pippo,  "  When  I  behold  your  Manly 
Form  "  ;  the  charming  coaching-chorus,  "  Come, 
let  us  now  be  off  as  quick  as  a  Bird,"  sung  by 
Bettina  and  chorus  in  the  first  act ;  the  chorus  and 
air  of  Saltarello,  "  Hail,  Princesses  and  Lords  "  ; 
the  pretty  duet,  "  Know'st  thou  those  Robes,"  for 
Bettina  and  Pippo,  and  the  concerted  finale  of  the 
second  act ;  the  stirring  rataplan,  "  Marking  Time 


32    THE  STANDARD  LIGHT  OPERAS. 

with  Cadence  so  Steady,"  the  entrance  of  the 
refugees  preluding  the  grotesque  "  Orang-Outang 
Song,"  sung  by  Fiametta  and  chorus,  and  the 
graceful  arietta  following  the  entrance  of  the  wed- 
ding-party in  the  last  act. 


BALFE,    MICHAEL   WILLIAM. 
^U  ^oljcmian  (3ivU 

[Grand  opera,  in  three  acts  ;   text  by  Bunn.     First  produced  at 
Drury  Lane  Theatre,  London,  November  27,  1S43.] 

PERSONAGES. 

Arline,  daughter  of  Count  Arnheim. 
Thaddeus,  a  Polish  exile. 
Gypsy  Queen. 
Devil SHOOF,  Gyp.sy  leader. 
Count  Arnheim,  Governor  of  Presburg. 
Florestein,  nephew  of  the  Count. 
[Retainers,  hunters,  soldiers,  gypsies,  etc.] 

The  scene  is  laid  at  Presburg,  Hungary  ;  time,  last  century, 

THE  Bohemian  Girl,"  usually  designated  as 
grand  opera,  strictly  speaking,  is  a  ballad 
opera,  and  is  one  of  the  few  English  works  of  its 
class  which  has  made  a  success  upon  the  Conti- 
nent and  in  the  United  States.  The  first  act  opens 
with  the  rescue  of  Arline,  daughter  of  Count  Arn- 
heim, from  the  attack  of  a  stag  by  Thaddeus,  a 
Polish  fugitive,  who  has  joined  a  gypsy  band  to  save 
himself  from  arrest.  In  return  for  his  timely  aid, 
the  Count  invites  him  to  a  banquet,  where  he  gets 
into  trouble  by  refusing  to  drink  the  health  of  the 
Emperor.  Devilshoof,  the  leader  of  the  band, 
saves  him  from  the  angry  soldiers,  but  in  turn  is 
3 


34  THE  STANDARD   LIGHT  OPERAS. 

himself  seized.  The  Count  allows  Thaddeus  to  go, 
and  Devilshoof  subsequently  escapes,  carrying  Arline 
with  him. 

Twelve  years  elapse  between  the  first  and  second 
acts.     The  Count   has   received  no  tidings   from 
Arline  and  has  given  her  up  as  lost.  \  The  second 
act  opens  in  the  gypsy  camp  in  the  suburbs  of 
Presburg,  and  discloses  Arline  asleep  with  Thad- 
deus watching  over  her.     The  gypsies  themselves 
depart  in  quest  of  plunder,  headed  by  Devilshoof, 
and  happen  upon  Florestein,  the  Count's  nephew, 
returning  in  a  drunken  condition   from  a   revel. 
They  speedily  relieve  him  of  his  valuables.     After 
their  departure  Arline  awakes,  and  Thaddeus  tells 
her  how  she  received  the  scar  upon  her  arm  and 
of  her  rescue  from  the  stag,  at  the  same  time  de- 
claring his  love  for  her.     Arline  confesses  her  love 
for  him,  and  the  two  are  united  according  to  the 
laws  of  the  tribe  by  the  Gypsy  Queen,  who  is  also 
in  love  with  Thaddeus,  and  vows  vengeance  upon 
the  pair.     The  scene  now  changes  to  a  street  in 
the  city.     A  fair  is  in  progress,  and  the  gypsies 
resort  to  it  with  Arline  at  their  head.     As  they 
mingle  among  the  people,  Florestein  attempts  to 
insult  Arline,  and  an  altercation  ensues  between 
them,  ending  in  his  repulse.     He   seeks  revenge 
by  having  her  arrested  for  stealing  a  medallion 
which   belonged    to    him    and   which    the    Gypsy 
Queen,  knowing  it  to  be  his,  had  maliciously  given 
to  her.    Arline  is  brought  before  the  Count  for  trial, 
during  which  he  asks  her  about  the  scar  on  her 


I 


THE  BOHEMIAN  GIRL.  ''SS  ^ 

arm.  She  replies  by  relating  the  story  Thaddeus 
had  told  her,  and  this  leads  to  his  discovery  of  his 
daughter. 

The  last  act  finds  Arline  restored  to  her  old 
position  but  still  retaining  her  love  for  Thaddeus. 
With  Devilshoof's  help  he  secures  a  meeting  with 
her.  The  Gypsy  Queen  gives  information  to  the 
Count,  and  Thaddeus  is  ordered  to  leave.  ArUne 
implores  her  father  to  relent,  and  threatens  to  go 
with  her  lover.  The  situation  happily  resolves  it- 
self when  Thaddeus  proves  that  he  is  of  noble  de- 
scent. The  Count  thereupon  yields  and  gives  his 
daughter  to  him.  The  baffled  and  furious  Gypsy 
Queen  induces  one  of  the  tribe  to  fire  at  Thaddeus, 
but  by  a  timely  movement  of  Devilshoof  the  bullet 
pierces  the  heart  of  the  Queen. 

The  principal  musical  numbers  of  the  first  act 
are  the  Count's  solo,  "A  Soldier's  Life";  the 
pathetic  song,  "  'T  is  sad  to  leave  your  Father- 
land " ;  the  gypsy  chorus,  "  In  the  Gypsy's  Life 
you  may  read,"  and  the  prayer  in  the  finale, 
"Thou  who  in  Might  supreme."  The  second  act 
contains  some  of  the  most  melodious  and  effec- 
tive numbers  in  the  work,  including  the  quaint 
little  chorus,  "  Silence,  Silence,  the  Lady  Moon  "  ; 
the  joyous  song,  "  I  dreamed  I  dwelt  in  Marble 
Halls,"  which  is  a  universal  favorite ;  the  musical 
dialogue  and  ensemble,  "  The  Secret  of  her  Birth  "  ; 
the  gypsy's  song,  "  Come  with  the  Gypsy  Bride  "  ; 
the  beautiful  unaccompanied  quartette,  "  From  the 
Valleys  and  Hills,"  and  the  impressive  reverie  by 


36    THE  STANDARD  LIGHT  OPERAS. 

the  Count,  "  The  Pleart  bowed  down."  The  last 
act  has  two  delightful  numbers,  —  the  tender  and 
impassioned  song,  "When  other  Lips  and  other 
Hearts,"  and  the  stirring  martial  song,  "When  the 
Fair  Land  of  Poland,"  in  which  Thaddeus  avows 
his  noble  descent  and  boasts  the  deeds  of  his 
ancestry  in  battle. 


%\)t  E06C  of  Castile, 

[Comic    opera,  in    three  acts ;  text   by    Harris  and    Falconer. 
First  produced  at  the  Lyceum  Theatre,  London,  October  29,  1857.] 

PERSONAGES. 

Elvira,  Queen  of  Leon  and  "  Rose  of  Castile." 
Manuel,  Don  Sebastian,  the    Infant,    in    disguise   of 

muleteer. 
Carmen,  attendant  of  the  Queen. 
Don  Pedro,       J 
Don  Sallust,  \  conspirators. 
Don  Florio,     ' 

The  scene  is  laid  in  Spain  ;  time,  last  century. 

At  the  opening  of  the  opera,  Elvira,  Queen  of 
Leon,  has  just  ascended  the  throne,  and  her  hand 
has  been  demanded  by  the  King  of  Castile  for  his 
brother,  Don  Sebastian,  the  Infant.  The  latter, 
with  the  design  of  satisfying  his  curiosity  about  her, 
is  on  the  eve  of  entering  Castile  disguised  as  a 
muleteer.  Elvira  hears  of  this,  and  adopts  the 
same  expedient,  by  starting  with  Carmen,  one  of 
her  attendants,  disguised  as  peasants  to  intercept 
him.     In  the  opening  of  the  first  act  the  two  ap- 


THE  ROSE   OF  CASTILE.  37 

pear  at  an  inn  where  the  peasants  are  dancing. 
The  innkeeper  is  rude  to  them,  but  Don  Sebastian, 
disguised  as  Manuel  the  muleteer,  protects  them, 
and  offers  his  services  as  escort,  which  the  Queen 
wiUingly  accepts,  for  she  has  recognized  him  and 
he  has  fulfilled  the  motive  of  the  story  by  falling  in 
love  with  her.  At  this  point  Don  Pedro,  who 
has  designs  upon  the  throne,  with  his  fellow-con- 
spirators Don  Sallust  and  Don  Florio,  enter. 
Observing  Elvira's  likeness  to  the  Queen,  they 
persuade  her  to  personate  Her  Majesty,  which, 
after  feigned  reluctance,  she  consents  to  do.  She 
also  accepts  their  services  as  escorts,  and  all  the  • 
more  unhesitatingly  because  she  knows  Manuel 
will  follow  her. 

The  second  act  opens  in  the  throne-room  of  the 
palace.  Don  Pedro  enters,  somewhat  dejected  by 
the  uncertainty  of  his  schemes.  The  Queen,  who 
has  eluded  the  surveillance  of  the  conspirators, 
also  appears  and  grants  an  audience  to  Manuel,  in 
which  he  informs  her  of  the  meeting  with  the 
peasant  girl  and  boy  and  declares  his  belief  they 
were  the  Queen  and  Carmen.  He  also  informs 
her  of  the  conspirators'  plot  to  imprison  her,  which 
she  thwarts  by  inducing  a  silly  old  Duchess  to 
personate  the  Queen  for  one  day  and,  closely 
veiled,  ride  to  the  palace  in  the  royal  carriage. 
Her  scheme  succeeds  admirably.  The  Duchess 
is  seized  and  conveyed  to  a  convent.  In  the  next 
scene  Don  Pedro  and  Don  Florio  are  mourning 
over  the  loss  of  their  peasant  girl,  when  she  appears. 


3S  THE  STANDARD  LIGHT  OPERAS. 

Their  mourning  turns  to  desperate  perplexity  when 
the  Queen  reveals  herself  and  announces  her 
intention  of  marrying  the  muleteer. 

In  the  last  act  Carmen  and  Don  Florio  agree  to 
marry.  Then  the  Queen  and  her  ladies  enter,  and 
a  message  is  delivered  her  from  Don  Sebastian  an- 
nouncing his  marriage.  Enraged  at  the  discovery 
that  the  muleteer  is  not  Don  Sebastian,  the  Queen 
upbraids  him  and  yet  declares  she  will  be  true  to 
him.  This  pleases  Don  Pedro,  as  he  believes  he 
can  force  her  to  abdicate  if  she  marries  a  muleteer  ; 
but  in  the  last  scene  Manuel  mounts  the  throne, 
and  announces  he  is  King  of  Castile,  Elvira  ex- 
presses her  delight,  and  all  ends  happily. 

The  story  of  the  opera  is  exceedingly  involved, 
but  the  music  is  well  sustained  and  ranks  with  the 
best  that  Balfe  has  written.  The  principal  num- 
bers of  the  first  act  are  the  lively  chorus,  "  List 
to  the  Gay  Castanet "  ;  the  vocal  scherzo  by  Elvira, 
"Yes,  I'll  obey  you";  Manuel's  rollicking  song, 
"  I  am  a  Simple  Muleteer  "  ;  the  buffo  trio,  which 
ends  in  a  spirited  bacchanal,  "  Wine,  Wine,  the 
Magician  thou  art "  ;  and  Elvira's  pleasing  rondo, 
"  Oh  !  were  I  the  Queen  of  Spain."  The  second 
act  contains  the  expressive  conspirators'  chorus, 
"  The  Queen  in  the  Palace  "  ;  the  beautiful  ballad, 
"Though  Fortune  darkly  o'er  me  frowns,"  sung 
by  Don  Pedro ;  the  ballad,  "  The  Convent  Cell," 
sung  by  Elvira,  which  is  one  of  Balfe's  happiest  in- 
spirations ;  the  buffo  trio,  "  I  'm  not  the  Queen, 
ha,  ha  "  ;  and  Elvira's  characteristic  scena,  "  I  'm 


THE  ROSE   OF  CASTILE.  39 

but  a  Simple  Peasant  Maid."  The  leading  numbers 
of  the  last  act  are  the  bravura  air,  "  Oh  !  Joyous, 
Happy  Day,"  which  was  intended  by  the  com- 
poser to  show  the  vocal  ability  of  Eliza  Pyne,  who 
first  appeared  in  the  role  of  Elvira;  Manuel's  fine 
ballad,  "  'T  was  Rank  and  Fame  that  tempted 
thee";  Don  Pedro's  martial  song,  "Hark,  hark, 
methinks  I  hear "  ;  the  stirring  song  by  Manuel, 
when  he  mounts  the  throne,  which  recalls  "  The 
Fair  Land  of  Poland  "  in  "  The  Bohemian  Girl  "  ; 
and  Elvira's  second  bravura  air,  "  Oh !  no,  by 
Fortune  blessed." 


BELLINI,   VINCENZO. 
la  ^onnambttla. 

[Grand  opera,  in  two  acts;  text  by  Romani.  Produced  for  the 
first  time  in  Milan,  March  6,  1831  ;  in  London,  at  the  King's 
Theatre,  July  2S,  1S31  ;  in  Paris,  October  28,  1831 ;  in  New 
York,  May  14,  1842.] 

PERSONAGES. 

Amina,  ward  of  the  miller's  wife. 
Elvino,  a  landholder. 
RoDOLFO,  lord  of  the  village. 
Lisa,  innkeeper. 

Alessio,  a  peasant,  lover  of  Lisa. 
Teresa,  mistress  of  the  mill. 

The  scene  is  laid  in  Switzerland  ;  time,  last  century. 

THE  first  act  of  the  opera  opens  with  the  prep- 
arations for  the  marriage  of  Amina  and 
Elvino.  Lisa,  the  mistress  of  the  inn,  is  also  in 
love  with  Elvino  and  jealous  of  Amina.  On  the 
day  before  the  wedding,  Rodolfo,  the  young  lord  of 
the  village,  arrives  to  look  after  his  estates,  and 
puts  up  at  the  inn,  where  he  meets  Amina.  He 
pays  her  many  pretty  compliments,  much  to  the 
dissatisfaction  of  Elvino,  who  is  inclined  to  quarrel 
with  him.  After  Rodolfo  retires  to  his  chamber, 
Amina,  who  is  addicted  to  sleep-walking,  enters 
the  room  and  throws  herself  upon  the  bed  as  if  it 


LA  SONNAMBULA.  41 

were  her  own.  She  is  seen  not  only  by  Rodolfo, 
but  also  by  Lisa,  who  has  been  vainly  seeking  to 
captivate  him.  To  escape  the  embarrassment  of 
the  situation,  Rodolfo  quietly  goes  out;  but  the 
malicious  Lisa  hastens  to  inform  Elvino  of  what 
Amina  has  done,  at  the  same  time  thoughtlessly 
leaving  her  handkerchief  in  Rodolfo's  room. 
Elvino  rushes  to  the  spot  with  other  villagers,  finds 
Amina  as  Lisa  had  described,  denounces  her,  and 
offers  himself  to  the  latter. 

In  the  last  act  Amina  is  seen  stepping  from  the 
window  of  the  mill  in  her  sleep.  She  crosses  a 
frail  bridge  above  the  mill  wheel,  descends  in 
safety,  and  walks  into  Elvino's  arms  amid  the  jubi- 
lant songs  of  the  villagers.  Elvino  at  last  is  con- 
vinced of  her  innocence,  while  the  discovery  of 
Lisa's  handkerchief  in  Rodolfo's  room  proclaims 
her  the  faithless  one. 

The  litde  pastoral  story  is  of  the  simplest  kind, 
but  it  is  set  to  music  as  melodious  as  ever  has 
come  from  an  Italian  composer,  and  the  role  of 
the  heroine  has  engaged  the  services  of  nearly  all 
the  great  artists  of  the  nineteenth  century  from 
Malibran  to  Patti.  Its  most  striking  melodies  are 
the  aria  "  Sovra  il  sen"  ("On  my  Heart  your 
Hand  do  place"),  in  the  third  scene  of  the  first 
act,  where  Amina  declares  her  happiness;  the 
aria  for  baritone  in  the  sixth  scene,  "  Vi  ravviso  " 
("I  recognize  you,  Pleasant  Spot"),  sung  by 
Rodolfo ;  the  playful  duet,  "  Mai  piu  dubbi  " 
("Away  with  Doubts"),  in  which  Amina  chides 


42  THE  STANDARD  LIGHT  OPERAS. 

her  lover  for  his  jealousy;  the  humorous  and 
characteristic  chorus  of  the  villagers  in  the  tenth 
scene,  "  Osservate,  1'  uscio  h  aperto  "  ("  Observe, 
the  Door  is  open"),  as  they  tiptoe  into  the 
chamber ;  the  duet  in  the  next  scene,  **  O  mio 
dolor"  (•'  Oh,  my  Sorrow  "),  in  which  Amina  as- 
serts her  innocence ;  the  aria  for  tenor  in  the 
third  scene  of  the  second  act,  "Tutto  e  sciolto  " 
("Every  Tie  is  broken"),  in  which  Elvino  be- 
moans his  hard  lot ;  and  that  joyous  outburst  of 
birdlike  melody,  "Ah!  non  giunge  "  ("Human 
Thought  cannot  conceive"),  which  closes  the 
opera. 


BENEDICT,   SIR   JULIUS. 
Cbe  lilp  of  EiUarnep. 

[Romantic  opera,  in  three  acts;  text  by  Oxenford  and  Bouci- 
cault.  First  produced  at  Covent  Garden  Theatre,  London, 
February  S,  1862.] 

PERSONAGES. 

Anne  Chute,  the  heiress. 

Mrs.  Cregan,  of  the  hall  at  Tore  Cregan. 

Father  Tom,  the  priest. 

EiLY  O'Connor,  the  Colleen  Bawn. 

Hardress  Cregan,  son  of  Mrs.  Cregan. 

Sheelah. 

Danny  Mann,  the  boatman. 

Myles  na  Coppaleen. 

Corrigan,  '♦  the  middle-man." 

The  scene  is  laid  at  Killarney,  Ireland ;  time,  last  century. 

THE  opera  "  The  Lily  of  Killarney  "  is  the 
musical  setting  of  the  drama,  "  The  Colleen 
Bawn."  The  plot  is  essentially  similar,  and  the 
characters  are  identical.  The  first  act  opens  with 
the  festivities  of  Hardress  Cregan's  friends  at  the 
hall  at  Tore  Cregan.  During  their  temporary  ab- 
sence to  witness  a  horse-race,  Corrigan,  "  the 
middle-man,"  calls  upon  Mrs.  Cregan  and  suggests 
to  her  the  marriage  of  her  son  to  the  heiress, 
Anne  Chute,  as  the  only  chance  of  securing  the 
payment  of  a  mortgage  he  holds  upon  the  place. 


44    THE  STANDARD  LIGHT  OPERAS. 

Failing  in  this,  he  expresses  his  own  willingness  to 
accept  Mrs.  Cregan's  hand,  but  the  hint  meets 
with  no  favor.  At  this  point  Danny  Mann,  Har- 
dress'  boatman,  is  heard  singing,  and  Corrigan  in- 
forms Mrs.  Cregan  he  is  about  to  take  her  son  to 
see  Eily,  the  Colleen  Bawn,  Anne  Chute's  peasant 
rival.  Danny  and  Hardress  set  off  on  their  errand, 
leaving  Mrs.  Cregan  disconsolate  and  Corrigan 
exultant.  In  the  second  scene  Corrigan  and  Myles 
na  Coppaleen,  the  peasant  lover  of  the  Colleen 
Bawn,  have  an  interview  in  which  Corrigan  tells 
him  she  is  the  mistress  of  Hardress.  The  next 
scene  introduces  us  to  Eily's  cottage,  where  Father 
Tom  is  seeking  to  induce  her  to  persuade  Hardress 
to  make  public  announcement  of  his  marriage  to 
her.  When  Hardress  appears  he  asks  her  to  give 
up  the  marriage  certificate  and  conceal  their  union  ; 
but  Myles  prevents  this,  and  Father  Tom  makes 
Eily  promise  she  will  never  surrender  it. 

In  the  second  act  Hardress  is  paying  court  to 
Anne  Chute,  but  is  haunted  by  remorse  over  his 
desertion  of  Eily.  Danny  Mann  suggests  putting 
her  on  board  a  vessel  and  shipping  her  to  America, 
but  Hardress  rejects  the  scheme.  Danny  then 
agrees  that  Eily  shall  disappear  if  he  will  send  his 
glove,  a  token  secretly  understood  between  them. 
This  also  he  rejects.  Meanwhile  Corrigan  is  press- 
ing his  alternative  upon  Mrs.  Cregan,  but  is  inter- 
rupted by  Hardress,  who  threatens  to  kill  him  if  he 
does  not  desist.  Corrigan  retires  uttering  threats 
of  revenge.     Danny  Mann  then  intimates  to  Mrs. 


THE  LILY  OF  KILLARNEY.  45 

Cregan  that  if  she  will  induce  Hardress  to  send 
the  glove,  he  can  bring  happiness  to  the  family 
again.  She  secures  the  glove  and  gives  it  to 
Danny,  who  prompdy  takes  it  to  Eily  with  the 
message  that  her  husband  has  sent  for  her.  Eily, 
in  spite  of  Myles'  warnings,  gets  into  Danny's 
boat  and  trusts  herself  to  him.  Danny  rows  out 
to  a  water  cave,  and  ordering  her  to  step  upon  a 
rock  demands  the  certificate.  She  refuses  to  give 
it  up,  and  Danny  pushes  her  into  the  water.  Myles, 
who  uses  the  cave  for  secret  purposes,  mistakes 
Danny  for  another  and  shoots  him,  and  then, 
espying  Eily,  plunges  in  and  saves  her. 

The  denouement  of  the  story  is  quickly  told  in 
the  last  act.  Hardress  is  arrested  for  murder,  but 
Danny,  who  was  fatally  wounded,  makes  a  dying 
confession  of  his  scheme  against  the  life  of  the 
Colleen  Bawn.  Corrigan  brings  soldiers  to  the 
house  of  Anne  Chute  at  the  moment  of  Hardress' 
marriage  with  her,  but  is  thwarted  in  his  revenge 
when  Myles  produces  Eily  Cregan,  Hardress'  law- 
ful wife.  Mrs.  Cregan  also  confesses  her  part  in 
the  plot,  and  absolves  her  son  from  intentional 
guilt.  Everything  being  cleared  up,  Eily  rushes 
into  Hardress'  arms,  and  the  chorus  declares 

"  A  cloudless  day  at  last  will  dawn 
Upon  the  hapless  Colleen  Bawn." 

The  music  is  very  elaborate  for  light-opera  pur- 
poses, and  is  written  broadly  and  effectively,  es- 
pecially for  the   orchestra.     Many  Irish  melodies 


46    THE  STANDARD   LIGHT  OPERAS. 

sprinkled  through  the  work  reHeve  its  heaviness. 
The  principal  numbers  are  the  serenade  and  duet, 
"The  Moon  has  raised  her  Lamp  above  " ;  Myles* 
song,  *'  It  is  a  Charming  Girl  I  love  " ;  Eily's 
song,  "  In  my  Wild  Mountain  Valley  he  sought 
me,"  and  the  well-known  original  Irish  melody, 
"The  Cruiskeen  Lawn,"  also  sung  by  Eily;  the 
"  Tally-ho  '*  chorus,  introducing  the  second  act ; 
Danny  Mann's  recitative  and  airs,  "The  Colleen 
Bawn  "  and  "  Duty?  Yes,  I  '11  do  my  duty" ;  the 
dramatic  finale  to  the  second  act ;  Myles'  serenade 
in  the  third  act,  "  Your  Slumbers,  och  !  Soft  as 
your  Glance  may  be  "  ;  Hardress'  beautiful  song, 
"  Eily  Mavourneen,  I  see  thee  before  me  " ;  and 
the  fine  concerted  trio  which  closes  the  act. 


BOIELDIEU,    FRANCOIS    ADRIEN. 
ia  ^ame  ^lanc|)c» 

[Op^ra  comique,  in  three  acts  ;  text  by  Scribe.  First  produced 
at  the  Opera  Comique,  Paris,  December  lo,  1825  ;  first  time  in 
English  under  the  title  of  "  The  White  Maid"  at  Covent  Garden, 
London,  January  2,  1S27.] 

PERSONAGES. 

George  Brown,  or  Julius  of  Avenel. 
Gaveston,  late  steward  of  the  Avenel  estate. 
MacIrton,  an  auctioneer. 
DiKSON,  an  honest  farmer. 
Anna,  adopted  child  of  the  Lady  of  Avenel. 
Jenny,  wife  of  Dikson. 

Margaret,  servant  of  the  late  Lady  of  Avenel. 
[Mountaineers,  peasants,  etc.] 

The  scene  is  laid  in  Scotland ;  time  of  the  Stuarts. 

THE  Story  of  this  favorite  opera,  adapted  from 
Walter  Scott's  novels  "The  Monastery" 
and  "  Guy  Mannering,"  runs  as  follows.  The  Laird 
of  Avenel,  a  Stuart  partisan,  upon  the  eve  of  going 
into  exile  after  the  battle  of  Culloden,  entrusts  his 
estate  and  a  considerable  treasure  concealed  in  a 
statue,  called  "  the  White  Lady,"  to  Gaveston,  his 
steward.  The  traditions  affirmed  that  the  White 
Lady  was  the  protectress  of  the  Avenels,  and  the 
villagers  declared  they  had  seen  her  in  the  neigh- 
borhood.    Gaveston,  however,  who  puts  no  faith 


48  THE  STANDARD   LIGHT  OPERAS. 

in  the  legend,  announces  the  sale  of  the  castle, 
hoping  that  the  superstition  may  keep  others  from 
bidding  and  that  he  may  get  it  for  a  low  price. 
The  steward  decides  to  sell,  because  he  has  heard 
the  Laird  is  dead  and  knows  there  is  no  heir. 

Anna,  an  orphan,  who  had  been  befriended  by 
the  Laird,  determines  to  frustrate  the  designs  of 
Gaveston,  and  appears  in  the  village  disguised  as 
the  White  Lady.  She  writes  to  Dikson,  a  farmer 
who  is  indebted  to  her,  to  meet  her  at  midnight  in 
the  castle  of  Avenel.  His  superstitious  fears  lead 
him  to  decline  the  invitation,  but  George  Brown,  a 
young  British  soldier  on  furlough,  who  is  sharing 
the  farmer's  hospitality,  volunteers  in  his  stead. 
He  encounters  the  White  Lady  at  the  castle,  and  is 
informed  by  her  that  he  will  speedily  meet  a  young 
lady  who  has  saved  his  life  by  her  careful  nursing, 
Anna  recognizing  him  as  her  recent  patient. 
When  the  day  of  sale  comes,  George  and  Anna 
are  present,  and  the  former  buys  the  castle  in 
obedience  to  Anna's  instructions,  though  he  has 
not  a  shilling  to  his  name.  When  the  time  for 
payment  comes,  Anna  produces  the  treasure  which 
had  been  concealed  in  the  statue,  and  still  in  the 
disguise  of  the  White  Lady  reveals  to  him  the 
secret  of  his  birth  during  the  exile  of  his  parents, 
and  informs  him  he  is  Julius  of  Avenel.  Gaveston 
approaches  the  spectre,  and  tears  off  her  veil,  re- 
vealing Anna.  Moved  by  the  zeal  and  fidelity  of 
his  father's  ward,  George  offers  her  his  hand,  which 
after  some  maidenly  scruples  she  accepts. 


LA  DAME  BLANCHE.  49 

In  the  first  act  the  principal  numbers  are  the 
opening  song  of  George,  "  Ah  !  what  Pleasure  a 
Soldier  to  be  "  ;  the  characteristic  ballad  of  the 
White  Lady  with  choral  responses,  "  Where  yon 
Trees  your  Eye  discovers  "  ;  and  the  graceful  trio 
in  the  finale,  "  Heavens  !  what  do  I  hear."  The 
second  act  opens  with  a  plaintive  romanza,  "  Poor 
Margaret,  spin  away,"  sung  by  Margaret,  Anna's 
old  nurse,  at  her  spinning-wheel,  as  she  thinks  of 
the  absent  Laird,  followed  in  the  fifth  scene  by  a 
beautiful  cavatina  for  tenor,  *'Come,  O  Gentle 
Lady."  In  the  seventh  scene  there  is  a  charming 
duet,  "  From  these  Halls,"  and  the  act  closes  with 
an  ensemble  for  seven  voices  and  chorus  which  is 
extremely  effective.  The  third  act  opens  with  a 
sentimental  air  for  Anna,  "  With  what  Delight  I 
behold,"  followed  in  the  third  scene  by  a  stirring 
chorus  of  mountaineers,  "  Hail  to  our  Gallant,  our 
New-made  Lord,"  and  leading  up  to  *'The  Lay  ever 
sung  by  the  Clan  of  Avenel  "  —  set  to  the  familiar 
melody  of  "  Robin  Adair."  Though  somewhat 
old-fashioned,  the  opera  still  retains  its  freshness, 
and  its  refined  sentiment  finds  charming  musical 
expression. 


CELLIER,   ALFRED. 

[Comic  opera,  in  three  acts  ;    text  by  Stephenson.     First  pro- 
duced at  the  Gaiety  Theatre,  London,  September  25,  1886.] 

PERSONAGES. 

Dorothy  Bantam,  Squire  Bantam's  daughter. 
Lydia  Hawthorne,  her  cousin. 
Priscilla  Privett,  a  widow. 
Phyllis,  Tuppet's  daughter. 
Geoffrey  Wilder,  Bantam's  nephew. 
Harry  Sherwood,  Wilder's  chum. 
Squire  Bantam,  of  Chanticleer  Hall. 
Lurcher,  a  sheriff's  officer. 
TUPPET,  the  village  landlord. 
Tom  Grass,  in  love  with  Phyllis. 
[Farm  hands,  hop-pickers,  and  ballet.] 

The  scene  is  laid  in  Kent,  England  ;  time,  a  hundred  years 
ago. 

THE  story  of  "  Dorothy  "  is  a  simple  one,  but 
affords  much  scope  for  humor.  The  first  act 
opens  in  a  hop-field,  introducing  a  chorus  and  dance 
of  the  hop-pickers.  Afterward  appears  Dorothy, 
daughter  of  a  wealthy  squire,  who  is  masquerading 
in  a  peasant's  dress,  and  while  serving  the  land- 
lord's customers  falls  in  love  with  a  gentleman 
whose  horse  has  lost  a  shoe.  Her  cousin,  Lydia 
Hawthorne,  who  is  with  her  in  disguise,  also  falls 
in  love  with  a  customer.     Each  girl  gives  her  lover 


DOROTHY.  .  51 

a  ring,  and  each  lover  vows  he  will  never  part  with 
it ;  but  that  same  evening  at  a  ball  the  faithless 
swains  give  the  rings  to  two  fine  ladies,  who  are 
none  other  than  Dorothy  and  Lydia  as  their  proper 
selves.  After  they  have  parted,  the  two  lovers, 
Wilder  and  Sherwood,  play  the  part  of  burglars 
and  rob  Squire  Bantam.  Dorothy,  disguised  in 
male  attire,  then  challenges  her  lover,  who,  though 
he  accepts,  displays  arrant  cowardice,  which  leads 
up  to  the  inevitable  explanations.  Incidentally 
there  is  much  fun  growing  out  of  the  efforts  of 
Lurcher,  the  sheriff's  officer,  who  has  followed 
Wilder  and  Sherwood  down  from  London  to  collect 
a  bill  against  the  former.  In  the  end  Wilder  and 
Sherwood  are  united  to  Dorothy  and  Lydia  amid 
great  rejoicing  at  Chanticleer  Hall. 

The  principal  numbers  are  the  ballad,  "With 
such  a  Dainty  Dame  "  ;  the  song  of  "  The  Sheriff's 
Man "  by  Lurcher,  Wilder,  and  Sherwood ;  the 
quartette  "  You  swear  to  be  Good,"  and  the  jolly 
chorus  "Under  the  Pump,"  in  the  first  act;  the 
introduction  and  country  dance,  the  bass  song  by 
Bantam,  "  Contentment  I  give  you,"  and  the 
ballad,  "  I  stand  at  your  Threshold,"  sung  by 
Sherwood,  in  the  second  act ;  and  the  chorus  of 
old  women,  "  Dancing  is  not  what  it  used  to  be," 
PhylUs'  ballad,  "  The  Time  has  come  when  I  must 
yield  "  and  the  septette  and  chorus,  "  What  Joy 
untold,"  leading  up  to  the  elaborate  finale  of  the 
last  act. 


CHASSAIQUE,   F. 
f  alfea. 

[Comic  opera,  in  three  acts  ;  text  by  Letterier  and  Vanloo.] 

PERSONAGES. 

KoLBACH,  military  governor  of  Montgratz. 

Tancred,  his  nephew. 

Arthur,  student,  son  of  a  rich  Hungarian  farmer. 

Lay  Brother  Pelican,  doorkeeper  of  the  convent. 

KoNRAD,  captain  of  the  governor's  pages. 

Tekeli,  sergeant  of  the  patrol. 

BoBOKY,  gypsy  scout. 

Boleslas,  chief  of  the  gypsies. 

The  Seneschal,  Kolbach's  steward. 

Falka,  niece  of  Kolbach,  at  the  convent  school. 

Edwige,  sister  of  Boleslas. 

Alexina  de  Kelkirsch,  a  young  heiress. 

Minna,  her  maid. 

Janotha,  landlady  of  the  inn. 
[Military  pages,  soldiers  of  the  watch,  maids  of  honor, 
peasants,  Bohemians,  etc.] 

The    scene   is   laid    in    Hungary;   time,  the    middle    of    the 
eighteenth  century. 

THE  first  act  of  "Falka"  opens  with  the  an- 
nouncement that  Kolbach,  the  military  gov- 
ernor of  Hungary,  has  been  promised  a  patent  of 
nobility  by  the  Emperor  upon  the  condition  that  he 
can  establish  the  succession  with  a  male  heir,  either 


FALKA.  53 

direct  or  collateral.     He  is  childless  himself,  but 
he  has  a  niece,  Falka,  who  is  in  a  convent,  and  a 
nephew,  Tancred,  who  is  usher  in  a  village  school. 
The  brother  of  Kolbach  is  dead.     His  hopes  for 
the  heir  rest  upon  Tancred,  whom  he  has  never 
seen.   He  summons  him  to  take  a  place  in  his  house 
as  the  heir  presumptive.     On  his  way,  Tancred  is 
captured  by  a  band  of  gypsies,  led  by  Boleslas,  but 
is  released  by  Edwige,  Boleslas'  sister,  on  condi- 
tion that  he  marries  her.    All  this  has  happened  in 
the  night,  and  Edwige  has  not  even  seen  Tancred's 
face.     The  latter,  when  he  learns  who  Edwige  is, 
flies,  and  is  pursued  to  the  city  where  Kolbach  lives 
by  Boleslas  and  Edwige.     From  a  pocket-book  he 
has  dropped  they  discover  he  is  the  nephew  of  the 
governor,  and  plot  to  identify  him  at  the  meeting, 
but  Tancred,  overhearing  them,  decides  to  baffle 
them  by  not  appearing,  and  writes  to  his  uncle 
that  he  is  detained  by  iflness.     In  the  mean  time 
Falka,  the  niece,  has  eloped  with  a  young  man 
named    Arthur.        Closely    pursued    by    Brother 
Pelican,   the    convent    doorkeeper,  the    fugitives 
arrive  at  the  inn  where  Kolbach  and  Tancred  were 
to  have  met.     To  foil  Brother  Pelican,  Falka  ar- 
rays herself  in  a  suit  of  Arthur's,  and  then  boldly 
decides  to  personate  her  brother.    Kolbach  is  easily 
deceived,  but  new  complications  ensue.     Brother 
Pelican,  finding  Falka' s  convent  dress,  suspects  she 
has  disguised  herself  as  a  boy  and  arrests  Arthur 
for  her.      Boleslas   and    Edwige,   witnessing    the 
meeting  of  Falka  and  Kolbach,  are  certain  Falka 


54  THE   STAiYDARD  LIGHT  OPERAS. 

is  the  missing  Tancred.  For  Falka's  sake  Arthur 
is  silent,  and  the  cortege  sets  out  for  the  castle 
where  the  heir  presumptive  is  to  be  engaged,  by 
the  Emperor's  order,  to  the  rich  young  Alexina  de 
Kelkirsch. 

In  the  second  act  Brother  Pelican  takes  Arthur 
to  the  convent  in  Falka's  dress,  and  Falka  remains 
in  a  soldier's  uniform  to  win  the  consent  of  her 
uncle  to  their  union.  Her  plans  are  now  dis- 
turbed by  the  arrival  of  Tancred,  disguised  as  a 
footman,  to  watch  his  own  interests  and  thwart  the 
schemes  of  the  young  soldier,  who  he  little  dreams 
is  his  own  sister.  He  is  afraid  to  reveal  himself 
because  he  knows  Boleslas  is  on  his  track.  He  con- 
trives that  Falka  shall  be  accused  of  broken  vows 
before  Kolbach,  and  she  is  challenged  by  Boleslas, 
but  escapes  by  revealing  her  sex  to  Edwige. 
Arthur,  who  has  been  brought  back  from  the  con- 
vent, confesses  the  interchange  of  dresses  with 
Falka,  whereupon  Kolbach  orders  them  both  out  of 
his  presence.  Tancred  displays  unusual  satisfac- 
tion, and  thus  discloses  his  identity  to  Edwige. 
Thus  the  act  closes  with  Kolbach's  discovery  that 
Tancred  is  betrothed  to  a  gypsy  and  that  the 
pseudo  Tancred  is  his  niece  Falka. 

In  the  last  act  Kolbach  reluctantly  prepares  for 
the  marriage  of  Tancred  to  Alexina,  as  the  Em- 
peror desires.  Falka  is  shut  up  in  a  tower,  whence 
she  is  to  be  sent  back  to  the  convent.  At  this 
point  Boleslas  appears  with  Edwige.  An  interview 
between  the  two  brides  leads  to  the  substitution  of 


FALKA.  55 

Edvvige  for  Alexina,  and  Tancred  marries  the 
gypsy.  Falka  escapes  from  the  tower,  but  is 
caught  and  brought  before  her  uncle,  who  at  last 
pardons  her  various  follies,  all  the  more  willingly 
because  he  has  received  a  despatch  from  the  Em- 
peror that  he  may  adopt  her  as  his  heiress,  the 
succession  having  been  settled  in  the  female  line. 

The  principal  numbers  in  the  first  act  are  the 
stirring  air  and  refrain,  "  I  'm  the  Captain,"  sung  by 
Edwige,  Tancred,  and  Boleslas,  preluded  by  a 
short  march  movement;  a  taking  little  nocturne, 
"There  was  no  Ray  of  Light,"  sung  by  Edwige; 
a  rondo  duet,  "  For  your  Indulgence"  ;  and  the 
long  and  elaborate  finale,  which  closes  with  an 
octette  and  full  chorus. 

The  second  act  opens  with  a  charming  chorus, 
"  Tap,  tap,"  sung  by  the  maids  of  honor,  followed 
by  couplets,  "  Perhaps  you  will  excuse."  Falka  has 
a  pretty  air,  "  Yon  Life  it  seems,"  followed  by  the 
exit  chorus,  "  Ah  !  is  she  not  a  Beauty  ?  "  This  in 
turn  is  followed  by  a  characteristic  Bohemian 
chorus,  "  Tra-la-la,"  with  a  gypsy  air,  "  Cradled 
upon  the  Heather,"  coming  in  as  a  kind  of  vocal 
intermezzo.  After  a  long  ensemble,  "  It  was  Tan- 
cred," a  trio,  "  Oh  Joy  !  oh  Rapture  !  "  is  sung,  in 
the  course  of  which  there  is  an  ingenious  passage 
burlesquing  Italian  opera,  followed  by  a  quintette, 
"  His  Aspect 's  not  so  overpowering,"  and  leading 
up  to  an  elaborately  concerted  finale. 

The  last  act,  though  short,  contains  many  bril- 
liant   numbers;    among  them  the   bridal  chorus. 


56    THE  STANDARD  LIGHT  OPERAS. 

'*  Rampart  and  Bastian  Gray,"  followed  by  a  lively 
Hungarian  rondo  and  dance,  "  Catchee,  catchee  "  ; 
a  romanza  *'  At  Eventide,"  which  literally  passes 
"  from  grave  to  gay,  from  lively  to  severe,"  as  it 
begins  with  an  andante  agitato,  chaiiging  to  an  an- 
dante religioso,  and  ending  with  a  waltz  tempo, 
and  repeating  with  the  same  abrupt  changes ;  a 
charming  duo  Berceuse,  ** Slumber,  O  Sentinel"; 
and  the  bell  chorus,  "  There  the  Bells  go,"  pre- 
ceding a  short  finale. 


DEKOVEN,     REGINALD. 
Eobin  ()ooIi. 

[Comic  opera,  in  three  acts ;  text  by  Harry  B.  Smith.     First 
produced  in  Chicago,  June  9,  1890.] 

PERSONAGES. 

Robert  of  Huntington,  afterward  Robin  Hood. 

Sheriff  of  Nottingham. 

Sir  Guy  of  Gisborne,  his  ward. 

Little  John, 

Will  Scarlet, 


■ 


^  rr,  I  outlaws. 

Friar  Tuck, 

Allan  a  Dale, 

Lady  Marian  Fitzvvalker,  afterwards  Maid  Marian. 

Dame  Durden,  a  widow. 

Annabel,  her  daughter. 

[Villagers,  milkmaids,  outlaws.  King's  foresters,  archers, 
pedlers,  etc.] 

The  scene  is  laid  in  England ;  time  of  Richard  the  First. 

THE  first  act  of  "Robin  Hood"  opens  in 
the  market-place  of  Nottingham,  where 
the  villagers  are  holding  a  fair  and  at  the  same 
time  celebrating  May  Day  with  a  blithe  chorus, 
for  Robin  Hood's  name  is  often  associated  with 
that  day.  The  three  outlaws  Allan  a  Dale,  Little 
John,  and  Will  Scarlet,  enter,  and  sing  most  lustily 
the  praises  of  their  free  life  in  Sherwood  Forest, 
the  villagers  joining  in  chorus.  The  tantara  changes 
to  a  graceful  and  yet  hilarious  dance  chorus,  "A 


58  THE  STANDARD   LIGHT  OPERAS, 

Morris  Dance  must  you  entrance,"  sung  fortissimo. 
The  second  number  is  a  characteristic  and  lively 
song  by  Friar  Tuck,  in  which  he  offers  at  auction 
venison,  ale,  and  homespun,  followed  by  No.  3,  a 
humorous  pastoral,  the  milkmaid's  song  with 
chorus,  "  When  Chanticleer  crowing."  This  leads 
up  to  the  entrance  of  Robin  Hood  in  a  spirited 
chorus,  "  Come  the  Bowmen  in  Lincoln  Green," 
in  which  the  free  life  of  the  forest  is  still  further 
extolled.  Another  and  still  more  spirited  scene 
introduces  Maid  Marian,  which  is  followed  by  an 
expressive  and  graceful  duet  for  Maid  Marian  and 
Robin  Hood,  "  Though  it  was  within  this  Hour  we 
met,"  closing  in  waltz  time.  This  is  followed  by 
the  Sheriffs  buffo  song  with  chorus,  "  I  am  the 
Merry  Sheriff  of  Nottingham,"  and  this  in  turn 
by  a  trio  introduced  by  the  Sheriff,  "  When  a  Peer 
makes  Love  to  a  Damsel  Fair,"  which,  after  the 
entrance  of  Sir  Guy  and  his  luckless  wooing,  closes 
in  a  gay  waltz  movement,  *'  Sweetheart,  my  own 
Sweetheart."  In  the  finale  Robin  Hood  demands 
that  the  Sheriff  shall  proclaim  him  Earl.  The 
Sheriff  declares  that  by  his  father's  will  he  has  been 
disinherited,  and  that  he  has  the  documents  to  show 
that  before  Robin  Hood's  birth  his  father  was 
secretly  married  to  a  young  peasant  girl,  who  died 
when  the  Earl's  first  child  was  born.  He  further 
declares  that  he  reared  the  child,  and  that  he  is 
Sir  Guy,  the  rightful  heir  of  Huntington.  Maid 
Marian  declares  she  will  suppress  the  King's  com- 
mand and  not  accept  Sir  Guy's  hand,  and  Robin 


ROBIN  HOOD.  59 

Hood  vows  justice  shall  be  done  when  the  King 
returns  from  the  Crusades. 

The  second  act  opens  with  a  brisk  hunting- 
chorus,  "  Oh !  cheerily  soundeth  the  Hunter's 
Horn,"  sung  by  Allan  a  Dale,  Little  John,  Scarlet, 
and  the  male  chorus,  in  the  course  of  which  Scarlet 
tells  the  story  of  the  tailor  and  the  crow,  set  to 
a  humming  accompaniment.  This  is  followed  by 
Little  John's  unctuous  apostrophe  to  the  nut-brown 
ale,  "  And  it 's  will  ye  quaff  with  me,  my  Lads." 
The  next  number  is  a  tinkers'  song,  "  'T  is  Merry 
Journeymen  we  are,"  with  characteristic  accom- 
paniment, followed  by  an  elaborate  sextette,  "  Oh, 
see  the  Lambkins  play."  Maid  Marian  sings  a 
joyous  forest  song,  "  In  Greenwood  Fair,"  followed 
by  Robin  Hood's  serenade,  "  A  Troubadour  sang 
to  his  Love,"  and  a  quartette  in  which  Maid  Marian 
declares  her  love  for  Robin  Hood  and  Allan  a 
Dale  vows  revenge.  In  the  finale,  opening  in 
waltz  time,  the  Sheriff  is  placed  in  the  stocks  by 
the  outlaws,  who  jeer  at  him  while  Dame  Durden 
flouts  him,  but  he  is  finally  rescued  by  Sir  Guy  and 
his  archers.  The  outlaws  in  turn  find  themselves 
in  trouble,  and  Maid  Marian  and  Robin  Hood  are 
in  despair. 

The  last  act  opens  with  a  vigorous  armorers' 
song,  "  Let  Hammer  on  Anvil  ring,"  followed  by  a 
pretty  romance,  "The  Legend  of  the  Chimes," 
with  a  ding-dong  accompaniment.  A  graceful 
duet  follows,  "  There  will  come  a  Time,"  in  which 
Robin  Hood  and  Maid  Marian  plight  their  troth. 


6o    THE  STANDARD  LIGHT  OPERAS. 

In  strong  contrast  with  this,  Annabel,  Dame  Bur- 
den, Sir  Guy,  the  Sheriff,  and  Friar  Tuck  indulge 
in  a  vivacious  quintette,  "  When  Life  seems  made 
of  Pains  and  Pangs,  I  sing  my  Too-ral-loo-ral-loo." 
A  jolly  country  dance  and  chorus,  "  Happy  Day, 
Happy  Day,"  introduce  the  finale,  in  which  Maid 
Marian  is  saved  by  the  timely  arrival  of  Robin 
Hood  at  the  church  door  with  the  King's  pardon, 
leaving  him  free  to  marry. 

JHaili  jHarian* 

[Comic  opera,  in  three  acts ;  text  by  Harry  B.  Smith.  First 
produced  at  Chestnut  Street  Opera  House,  Philadelphia,  Fa., 
November  4,  1901.] 

PERSONAGES. 

Sheriff  of  Nottingham. 
Little  John. 
Robin  Hood. 
Will  Scarlet. 
Friar  Tuck. 
Allan  a  Dale. 
Guy  of  Gisborne. 
Dame  Durden. 

Geoffrey,  [  S^™^''"?'"- 

YussuF,  a  slave  merchant. 

Sir  H.  Vere  de  Vere,  I  Knights  of  St.  George. 

Sir  Hugh  Montford,  ) 

Amina,  a  snake-charmer. 

Lady  Vivian. 

Maid  Marian. 
[Huntsmen,  men  at  arms,  Saracen  warriors,  mummers, 
Crusaders,  etc.] 

The  scene  is  laid  in  England  and  Palestine ;  time  of  Richard 
the  First. 


I 


MAID  mar/an:  6 1 

The  story  of  "  Maid  Marian  "  introduces  most 
of  the  familiar  characters  in  "  Robin  Hood  "  and 
some  new  ones,  and  the  scene  alternates  between 
Sherwood  Forest  and  Palestine.  It  is  intended  as 
a  sequel  to  the  latter  opera.  The  plot  begins  at 
the  point  where  Maid  Marian  and  Robin  Hood 
were  betrothed.  Robin  has  joined  the  Crusaders 
and  left  Marian  on  the  eve  of  the  wedding.  He 
also  leaves  a  letter  for  Marian  in  Little  John's 
charge,  directing  her  in  case  of  trouble  to  apply 
to  him  for  help.  This  letter  is  stolen  by  the 
Sheriff  of  Nottingham,  who  substitutes  for  it  a  forged 
missive  calculated  to  make  her  believe  that  Robin 
is  false.  The  first  act  closes  with  the  arrival  of 
Little  John  and  the  forest  outlaws,  who  leave  for 
the  holy  war.    Marian  joins  them  to  seek  for  Robin. 

The  second  act  opens  in  the  camp  of  the  Cru- 
saders, near  the  city  of  Acre.  Maid  Marian  has 
been  captured  by  the  Saracens  and  sold  into  slavery, 
but  is  rescued  by  Robin  Hood.  Then  the  Sheriff 
of  Nottingham  and  Guy  of  Gisborne,  the  latter  still 
intent  upon  marrying  Marian,  appear  in  the  dis- 
guise of  merchants  and  betray  the  camp  into  the 
hands  of  the  Saracens.  Dame  Burden's  encounter 
with  the  Sheriff  and  Friar  Tuck's  antics  as  an 
odalisque  add  merriment  to  the  story. 

In  the  last  act  all  the  principals  are  back  in 
England  and  the  scene  opens  with  a  Christmas 
revel  in  Huntington  Castle.  Robin  thwarts  all  the 
schemes  of  the  Sheriff,  comes  into  his  rights,  and  is 
reunited  to  Maid  Marian. 


62  THE  STANDARD  LIGHT  OPERAS. 

While  the  story  lacks  in  interest  as  compared 
with  that  of  *' Robin  Hood,"  the  music  gains  in 
dramatic  power  and  seriousness  of  purpose,  and 
at  the  same  time  is  full  of  life  and  vivacity.  The 
overture  is  notable  for  being  in  genuine  concert 
form,  —  the  first  instance  of  the  kind  in  comic 
opera  for  many  years  past,  —  and  thus  naturally 
sets  the  pace,  as  it  were,  for  the  opera,  and  gives 
the  clew  to  its  musical  contents.  The  most 
noticeable  numbers  in  the  first  act  are  the  Cel- 
larer's Toast,  "  The  Cellar  is  dark  and  the  Cellar  is 
deep,"  a  rollicking  song  for  Scarlet,  Friar  Tuck, 
and  chorus ;  the  charmingly  melodious  "  Song  of 
the  Falcon,"  "  Let  one  who  will  go  hunt  the 
Deer,"  for  Maid  Marian ;  the  Sheriffs  song,  *'  I 
am  the  Sheriff  Mild  and  Good,"  which  is  always 
popular;  and  a  delightful  madrigal,  the  quintette 
*'  Love  may  come  and  Love  may  go."  The 
second  act  contains  many  pleasing  and  character- 
istic songs,  among  them  "  The  Monk  and  the 
Magpie,"  sung  by  Scarlet  and  chorus ;  the  "  Song 
of  the  Outlaw,"  a  spirited  ballad  by  Robin  Hood ; 
the  Sheriff's  serenade,  a  popular  tune, ''  When  a 
Man  is  in  Love";  "The  Snake  Charmer's  Song," 
by  Maid  Marian ;  and  the  vigorous  "  Song  of  the 
Crusader"  by  Robin;  but  the  two  most  effective 
numbers  are  a  graceful  song,  "  Tell  me  again. 
Sweetheart,"  sung  by  Allan  a  Dale,  and  the  duet 
in  waltz  manner,  "  True  Love  is  not  for  a  Day,"  by 
Robin  and  Marian.  The  third  act  is  largely 
choral,  the  introductory  Christmas  carolling   and 


MAID  MARIAN.  63 

dance  rhythms  being  especially  effective,  but  it 
contains  one  of  the  best  solo  numbers  in  the 
work,  the  dainty  song  with  chorus,  *'  Under  the 
Mistletoe  Bough."  The  music  throughout  is  dra- 
matic, strong,  and  well  written.  While  the  opera 
has  not  been  as  popular  as  its  predecessor,  yet  the 
music  is  of  a  higher  order,  and  occasionally 
approaches  grand  opera  in  its  breadth  and 
earnestness. 

[Romantic  comic  opera,  in  three  acts  ;  text  by  Harry  B.  Smith. 
First  produced  at  the  Herald  Square  Theatre,  New  York,  October 
29,  1894.] 

PERSONAGES. 

Rob  Roy  MacGregor,  Highland  chief. 
Janet,  daughter  of  the  Mayor. 

Prince   Charles  Edward  Stuart,  the  young  Pre- 
tender. 
Flora  MacDonald,  partisan  of  the  Pretender. 
DuGALD  MacWheeble,  Mayor  of  Perth. 
LocHiEL,  otherwise  Donald  Cameron. 
Capt.  Ralph  Sheridan,  of  the  Grenadiers. 
Sandy  MacSherry,  town-crier. 
Tammas  MacSorlie,  the  Mayor's  henchman. 
Lieut.  Cornwallis,  of  the  Grenadiers. 
Lieut.  Clinton. 
Angus  MacAllister. 
Duncan  Campbell. 
Stuart  MacPherson. 
Donald  MacAlpine. 

Nellie,  barmaid  of   "  The  Crown  and  Thistle." 
[^Highlanders,      Lowlanders,     townsmen,      watchmen, 
drummer-boys,  English  Grenadiers,  etc.] 

The  scene  is  laid  in  Scotland ;  time  of  George  the  Second. 


64  THE  STANDARD  LIGHT  OPERAS. 

The  first  act  of  "  Rob  Roy  "  opens  in  Perth, 
where  Lochiel  and  his  Highlanders  have  stolen  a 
considerable  sum  of  money  in  the  keeping  of  the 
Provost,  with  which  they  propose  to  aid  Prince 
Charles  Stuart  in  his  designs  upon  the  English 
throne.  Flora  MacDonald,  a  zealous  partisan  of 
the  young  Pretender,  appears  upon  the  scene,  and 
induces  the  Provost  to  consent  to  a  gathering  of 
the  clans  in  Perth.  Hearing  of  a  Scotch  victory, 
he  compels  his  daughter  Janet  to  marry  Sandy 
MacSherry,  the  town-crier,  who  claims  relation- 
ship with  the  Stuarts.  In  the  mean  time  English 
grenadiers  enter  Perth,  and  their  captain,  Ralph 
Sheridan,  falls  in  love  with  Janet.  The  Provost,  who 
is  always  on  the  side  that  is  uppermost,  forces  his 
daughter  to  declare  herself  the  Captain's  wife  and 
then  accuses  Sandy  of  stealing  the  missing  money. 
Janet  obeys  him,  but  immediately  afterwards  Rob 
Roy  captures  the  town,  and  the  Provost,  to  get  rid 
of  his  new  English  son-in-law,  causes  his  arrest.  It 
now  appears  that  the  crafty  Janet  when  she  went 
through  the  Scotch  form  of  marriage  with  Sandy 
and  the  Captain  was  already  secretly  married  to 
Rob  Roy.  To  escape  her  two  nominal  husbands 
she  proposes  to  go  with  Rob  Roy's  Highlanders 
as  his  orderly.  The  act  closes  with  the  gathering 
of  the  clans  and  the  elevation  of  the  standard. 

The  second  act  opens  with  the  defeat  of  the 
Scotch  at  CuUoden.  A  reward  is  offered  for  the 
Prince,  who  is  in  hiding  among  the  MacGregors  in 
their  mountain  stronghold.     The  Provost  and  his 


ROB  ROY.  65 

henchmen  appear  as  strolling  balladmongers, 
still  in  Highland  dress,  and  not  having  heard  of 
the  Scotch  defeat.  When  Sandy  MacSherry 
arrives  with  the  news  of  the  English  victory,  the 
Provost  gets  into  English  uniform  at  once,  and 
determines  to  secure  the  reward  offered  for  the 
Prince.  At  last  the  Prince  is  found  by  the  English, 
but  when  they  are  about  to  take  him  away,  Flora 
MacDonald  appears  in  the  Prince's  costume, 
declares  him  her  servant,  and  is  led  away  by  the 
soldiers  in  spite  of  the  efforts  of  Rob  Roy  and  the 
Prince  to  rescue  her. 

The  third  act  opens  near  Stirling  Castle,  where 
Flora  is  confined  under  sentence  of  death  on  the 
morrow.  Lochiel  aids  her  to  escape,  and  she  goes 
to  the  MacGregors'  cave,  where  the  Prince  is  to 
join  her.  Meanwhile,  her  cell  being  empty, 
Lochiel,  who  has  taken  the  turnkey's  place,  puts 
Sandy  in  it.  The  Provost,  who  is  now  an  English 
corporal,  supposing  that  Flora  is  still  in  the  castle, 
brings  her  a  disguise  costume  in  which  Sandy 
manages  to  effect  his  escape.  Flora  is  found  in 
the  cave  and  brought  back  to  the  camp,  but  is 
saved  from  being  shot  by  the  timely  arrival  of  the 
Prince,  who  gives  himself  up.  As  he  is  about  to  be 
executed,  the  Lowlanders  around  him  throw  off 
their  coats  and  stand  revealed  as  armed  High- 
landers. They  keep  the  English  soldiers  at  bay 
while  the  Prince  and  Flora  are  seen  sailing  away 
for  France. 

In  the  first   act,  after  a  long  choral  scene  and 
5 


66  THE   STANDARD   LIGHT  OPERAS. 

ensemble,  Flora  makes  her  entrance  with  the 
spirited  song,  "  Away  in  the  Morning  Early," 
which  is  followed  by  a  sentimental  duet  with  the 
Prince,  "Thou,  Dear  Heart."  The  town-crier 
next  has  a  characteristic  song  with  a  ding-dong 
accompaniment.  After  a  grenadier  song  and 
chorus  by  Captain  Sheridan  and  his  soldiers,  there 
is  a  vigorous  Highland  chorus  and  song  by  Rob 
Roy,  "The  White  and  the  Red,  huzzah."  The 
remaining  prominent  numbers  in  this  act  are  a 
pretty  duet  for  Rob  Roy  and  Janet,  "  There  he  is 
and  nae  one  wi'  him  "  ;  a  charming  Scotch  ballad, 
"  My  Hame  is  where  the  Heather  blooms,"  and  a 
humorous  song  by  the  Provost,  "  My  Hairt  is  in 
the  Highlands." 

The  principal  numbers  in  the  second  act  are 
Janet's  joyous  song,  "  There  was  a  Merry  Miller  of 
the  Lowland " ;  the  spirited  martial  lay  of  the 
Cavalier,  "  With  their  trappings  all  a-jingle  "  ;  the 
jolly  song  of  the  balladmongers,  "  From  Place  to 
Place  I  fare.  Lads  "  ;  Rob  Roy's  song,  "  Come, 
Lairds  of  the  Highlands  "  ;  and  the  effective  ro- 
manza,  "  Dearest  Heart  of  my  Heart,"  sung  by 
Flora. 

The  third  act  opens  with  a  vigorous  rataplan 
chorus  followed  by  a  charming  chansonette  and 
duet,  "  Who  can  tell  me  where  she  dwells,"  sung 
by  the  Prince  and  Flora.  The  remaining  numbers 
are  a  short  but  exceedingly  effective  bass  song, 
"  In  the  Donjon  Deep  "  ;  the  Provost's  serenade, 
"The  Land  of  Romances,"  followed  by  a  dance, 


THE  FENCING-MASTER.  67 

and  a  pretty  little  rustic  song,  "  There  's  a  Lass, 
some  think  her  Bonny,"  for  Rob  Roy,  Janet,  and 
chorus,  leading  up  to  a  vigorous  choral  finale. 

C|)c  f  encinff-Jllafiiter. 

[Comic  opera,  in  three  acts ;  text  by  Harry  B.  Smith.  First 
produced  at  the  New  York  Casino,  November  14,  1892.] 

PERSONAGES. 

Francesca,  Torquato's  daughter,  brought  up  as  a  boy. 
ToRQUATO,  fencing-master  of  the  Milanese  court. 
Pasquino,  private  astrologer  to  the  Duke. 
Galeazzo  Visconti,  Duke  of  Milan. 
Count  Guido  Malespine. 
FiLiPPA,  the  Duke's  ward. 
Marchesa  di  Goldoni. 

Theresa,  daughter  of  a  Milanese  money-lender. 
Pietro,  an  innkeeper. 
Michaele  Steno,  Doge  of  Venice. 
RiNALDO,  Captain  of  the  Doge's  Guards. 
FoRTUNio,  rightful  heir  to  the  ducal  throne. 
[Students  in  Torquato's  Academy.] 
The  scene  is  laid  in  Milan  and  Venice ;  time,  the  first  quarter 
of  the  fifteenth  century. 

The  heroine  of  this  opera  is  Francesca,  daughter 
of  a  fencing-master,  who  has  brought  her  up  as  a 
boy  and  taught  her  fencing  among  other  accom- 
plishments. She  is  in  love  with  Fortunio,  rightful 
heir  to  the  throne  of  Milan,  who  believes  her  to 
be  a  boy.  Fortunio  in  turn  is  in  love  with  the 
Countess  Filippa,  and  the  Marchesa  di  Goldoni,  a 
young  widow,  is  in  love  with  Francesca.  The 
bankrupt   and  usurping  Duke    of  Milan  and  his 


68  THE  STANDARD  LIGHT  OPERAS. 

private  astrologer,  of  whom  he  has  purchased  so 
many  horoscopes  as  to  deplete  his  exchequer, 
furnish  the  comedy  element  of  the  opera.  The 
Duke  has  mortgaged  one  room  after  another  in 
his  palace  to  money-lenders,  and  has  also  employed 
a  regularly  organized  stock  company  of  Venetian 
bravos  to  remove  Fortunio.  The  first  act  closes 
with  the  departure  of  Fortunio  and  Francesca  to 
Venice  on  political  business. 

The  second  act  opens  in  Venice.  Filippa  has 
been  sent  there  to  be  married,  but  Fortunio  plans 
an  elopement  with  her  and  entrusts  the  secret  to 
Francesca.  The  jealous  Francesca  betrays  the 
plan  to  Guido,  his  rival,  who  abducts  Filippa. 
When  Fortunio  discovers  what  Francesca  has 
done,  he  challenges  the  supposed  young  man, 
whose  identity  is  revealed  after  he  has  wounded 
her.  Fortunio  is  arrested  by  the  Duke  and  is 
about  to  be  taken  to  prison,  when  Francesca  de- 
clares herself  as  the  real  traitor  and  is  imprisoned 
in  his  stead. 

In  the  last  act  Francesca  escapes  through  the 
connivance  of  the  Marchesa,  who  still  believes  her 
to  be  a  man.  At  a  fete  Filippa  is  expected  to 
name  her  future  husband.  Fortunio  has  made  an 
appointment  with  her,  but  meets  Francesca  dis- 
guised as  the  Countess,  in  a  mask  and  domino 
like  hers.  She  learns  from  Fortunio  that  he  really 
loves  her  and  not  Filippa.  The  opera  closes  with 
the  downf^dl  of  the  usurping  Duke  and  his  astrolo- 
ger and  the  restoration  of  Fortunio  to  his  rights. 


THE  FENCING-MASTER.  69 

The  music  has  the  Italian  color,  the  first  act 
containing  a  graceful  tarantella  and  chorus,  "Under 
thy  Window  I  wait  " ;  a  duet,  gavotte,  and  chorus, 
"  Oh,  listen,  and  in  Verse  I  will  relate,"  sung  by 
Theresa  and  Pasquino ;  a  lively  song,  "  The  Life 
of  a  Rover,"  by  Fortunio ;  a  charming  habanera 
and  quintette,  "  True  Love  is  a  Gem  so  Fair  and 
Rare  "  ;  and  a  waltz  quintette,  •'  Lady  Fair,  I  must 
decHne."  The  second  act  opens  with  a  barcarole, 
"  Over  the  Moonlit  Waves  we  glide,"  and  contains 
also  a  graceful  maranesca,  "  Oh,  come,  my  Love, 
the  Stars  are  bright "  ;  a  humorous  serenade  for 
the  Duke,  "  Singing  a  Serenade  is  no  Light  Task  "  ; 
a  sentimental  romanza  for  Francesca,  "  The  Night- 
ingale and  the  Rose  "  ;  and  a  brilliant  finale  in 
which  the  music  accompanies  the  historic  cere- 
mony of  the  marriage  with  the  Adriatic.  The 
principal  numbers  of  the  third  act  are  a  graceful 
carnival  scene  with  chorus  opening  the  act;  the 
serenade  for  the  Marchesa  and  cavaliers,  "  Wild 
Bird  that  singeth " ;  a  will-o'-the-wisp  song  by 
Francesca,  "Traveller  wandering  wearily"  ;  and  a 
melodious  duet  for  Francesca  and  Fortunio,  "Dwells 
an  Image  in  my  Heart,"  leading  up  to  a  short 
finale. 


DELIBES,  LEO. 

[Romantic  opera,  ia  three  acts ;  text  by  Goudinet  ;.nd  Gille.  First 
produced  at  the  Op^ra  Comique,  Paris,  April  14,  1883;  in  New 
York,  March  i,  1S86.] 

PERSONAGES. 

Lakm6,  daughter  of  Nilakantha. 
NiLAKANTHA,  a  Brahmin  priest. 
Gerald,  an  English  officer,  lover  of  Lakm6. 
Frederick,  an  English  officer. 
Mallika,  slave  of  Lakm6. 
Hadji,  slave  of  Lakme. 

,  ,    '  f  daughters  of  the  Viceroy. 

Mrs.  Benson,  their  governess. 
[Hindoos,  Chinamen,  fruit-venders,  sailors,  etc.] 
The  scene  is  laid  in  India;  time,  last  century. 

THE  opera  of  '*  Lakme  "  opens  in  the  sacred 
grounds  of  Nilakantha,  a  Brahmin  priest  who 
has  an  aversion  to  all  foreigners,  where  Gerald  and 
Frederick,  two  young  English  officers,  with  ladies 
are  strolling  about.  They  gradually  retire  with  the 
exception  of  Gerald,  who  is  curious  to  see  the 
owner  of  some  jewels  left  upon  a  shrine.  Lakm^, 
the  daughter  of  Nilakantha,  returns  for  them,  espies 
Gerald,  and  there  is  a  case  of  love  at  first  sight. 
The    priest    however    interrupts   their  dcmonstra- 


lakm£.  71 

tions,  and  Gerald  escapes  his  vengeance  in  a  con- 
venient thunder-storm.  In  the  second  act  Lakmt§ 
and  Nilakantha  appear  in  the  market-place  in  the 
guise  of  penitents.  He  f"orces  his  daughter  to 
sing,  hoping  that  her  voice  will  induce  her  lover 
to  disclose  himself.  The  scheme  succeeds,  and 
Nilakantha,  stealing  upon  Gerald,  stabs  him  in  the 
back  and  makes  good  his  escape.  The  third  act 
opens  in  a  jungle  where  Lakm^  is  nursing  Gerald 
with  the  hope  of  retaining  his  love.  She  eventually 
saves  his  life,  but  while  she  is  absent  to  obtain 
some  water  which,  according  to  the  Indian  legend, 
will  make  love  eternal,  Frederick  finds  him  and 
urges  him  to  return  to  his  regiment.  Duty  is  more 
powerful  than  passion,  and  he  consents.  When 
Lakm^  finds  that  he  is  going,  she  takes  poison 
and  dies  in  Gerald's  arms. 

The  first  act  opens  with  a  chorus  of  Hindoos, 
oriental  in  its  coloring,  followed  by  a  duet  be- 
tween Lakme  and  her  father,  the  scene  closing 
with  a  sacred  chant.  A  beautiful  duet  for  Lakm6 
and  her  slave  follows,  "  Neath  yon  Dome  where 
Jasmines  with  the  Roses  are  blooming."  As 
Lakm^  appears  at  the  shrine,  she  sings  a  restless 
love  song,  ''Why  love  I  thus  to  stray?"  followed 
by  Gerald's  ardent  response,  "  The  God  of  Truth 
so  Glowing." 

The  first  number  of  importance  in  the  second 
act  is  the  pathetic  aria  of  Nilakantha,  addressed 
to  his  daughter,  "  Lakm^,  thy  Soft  Looks  are  over- 
clouded."     Then     follows    Lakm^'s    bell     song, 


72  THE  STANDARD  LIGHT  OPERAS. 

"  Where  strays  the  Hindoo  Maiden,"  a  brilliant 
and  gracefully  embellished  aria  with  tinkling  ac- 
companiment which  will  always  be  popular.  The 
remaining  principal  numbers  are  an  impassioned 
song  by  Gerald,  "  Ah  !  then  'tis  Slumbering  Love," 
followed  by  the  mysterious  response  from  Lakm^, 
"  In  the  Forest  near  at  Hand." 

The  music  of  the  third  act  is  tinged  with  sadness 
throughout,  as  the  action  hastens  to  the  tragic  de- 
nouement. Its  principal  numbers  are  the  low  mur- 
muring song  by  Lakme,  "  'Neath  the  Dome  of 
Moon  and  Star,"  as  she  watches  her  sleeping 
lover;  Gerald's  song,  "  Tho'  Speechless  I,  my 
Heart  remembers,"  followed  by  a  pretty  three-part 
chorus  in  the  distance ;  and  Lakme's  last  dying 
songs,  "  To  me  the  Fairest  Dream  thou  'st  given," 
and  *'  Farewell,  the  Dream  is  over." 


D0NIZETTI,   GAETANO. 


Cbe  Dattg;l)ter  of  Hz  Ut^mtnt. 

[Op6ra  comique,  in  two  acts ;  text  by  Bayard  and  St.  Georges. 
First  produced  at  the  Op6ra  Comique,  Paris,  February  ii,  1840.] 

PERSONAGES. 

SULPICE,  an  old  sergeant. 

Tony,  a  Tyrolean  peasant  in  love  with  Marie. 
HoRTENSius,  secretary  of  the  Marchioness. 
Marie,  the  adopted  Daughter  of  the  Regiment. 
Marchioness  de  Berkenfeld. 

DUCHESSE   DE   CRACKENTHORPE. 

[Villagers,  soldiers,  gentlemen,  guests.] 
The  scene  is  laid  in  the  Tyrol ;  time,  about  twelve  years  after 
the  Battle  of  Marengo. 

AT  the  opening  of  the  opera  Marie,  the  heroine, 
Jr\.  and  vivandiere  in  Napoleon's  Twenty-first 
Regiment,  has  been  saved  from  falUng  over  a 
precipice  by  Tony,  a  Tyrolean  peasant,  and  is 
ever  after  the  object  of  his  special  admiration 
and,  shortly,  of  his  love.  She  tells  the  story  of 
her  life,  from  which  it  appears  that  she  was  adopted 
as  the  Daughter  of  the  Regiment  because  she  was 
picked  up  on  the  field  of  battle  by  Sergeant  Sul- 
pice,  who  found  upon  her  person  a  letter  written 
by  her  father  to  the  Marchioness  de  Berkenfeld. 
Tony's  reward  for  his  rescue  of  Marie  is  his  arrest 


74  THE   STANDARD  LIGHT  OPERAS. 

as  a  spy,  but  not  before  he  has  declared  his  love 
for  her.  He  easily  clears  up  his  record,  and  the 
soldiers  decide  he  may  have  Marie's  hand  if  he 
will  join  them.  He  gives  joyous  assent  to  this 
proposition,  but  his  hopes  are  suddenly  dashed  to 
the  ground  when  the  Marchioness  de  Berkenfeld 
appears.  Sergeant  Sulpice  delivers  the  letter  to 
her,  after  reading  which  she  claims  Marie  as  her 
niece,  and  carries  her  off  amidst  smothered  impre- 
cations by  the  soldiers  and  especially  by  Tony  upon 
the  Marchioness. 

In  the  second  act  Marie  is  found  in  her  new 
home  at  the  casUe  of  Berkenfeld,  and  the  old  ser- 
geant is  with  her,  while  she  is  rehearsing  a  ro- 
mance which  she  is  to  sing  to  a  grand  company. 
She  and  Sulpice  suddenly  break  out  into  a  rollick- 
ing rataplan,  and  go  through  military  evolutions  to 
the  horror  of  the  Marchioness.  While  the  latter  is 
expostulating  with  them,  martial  music  announces 
the  approach  of  the  gallant  Twenty-first,  with  Tony 
at  their  head,  for  he  is  now  a  colonel.  He  makes 
another  appeal  for  Marie's  hand,  and  the  appeal  is 
seconded  by  the  soldiers,  but  the  Marchioness  re- 
fuses the  favor.  Tony  then  proposes  an  elopement, 
to  which  Marie  consents.  To  thwart  this  scheme, 
the  Marchioness  announces  that  early  in  life  she 
had  been  secretly  married  to  an  army  officer  of 
low  rank  and  that  he  was  Marie's  father.  Unable 
to  disobey  her  mother's  wishes,  Marie  gives  up 
Tony  and  falls  into  a  melancholy  mood.  Her  sad 
plight  rouses  old  associations  in  the  mind  of  the 


THE  DAUGHTER   OF  THE  REGIMENT.       75 

Marchioness,  and  she  at  last  gives  her  consent  to 
the  union. 

The  music  of  the  first  act  is  very  brilliant,  and 
includes  among  its  best  numbers  Marie's  opening 
song,  "  The  Camp  was  my  Birthplace  "  ;  the  duet 
with  Sulpice,  known  the  world  over  as  "  The  Rata- 
plan," stirring  and  martial  in  its  character  and 
accompanied  by  the  rattling  of  drums  and  the 
sonorous  strains  of  the  brasses  ;  the  spirited  "  Salute 
to  France  "  ;  Marie's  song  of  the  regiment,  *^  All 
Men  confess  it " ;  her  pretty  duet  with  Tony, 
"No  longer  can  I  doubt  it";  and  her  touching 
adieu  to  the  regiment,  "Farewell,  a  Long  Farewell." 

In  the  second  act  the  principal  numbers  are  the 
"Rataplan"  (repeated);  Marie's  aria,  "By  the 
Glitter  of  Greatness  and  Riches  " ;  the  soldiers' 
spirited  choral  appeal,  "  We  have  come  our  Child 
to  free  "  ;  Tony's  romance,  "  That  I  might  live  in 
her  Dear  Sight";  and  the  effective  trio,  "Once 
again,  what  Delight,"  leading  to  the  exultant  finale. 
The  music  of  the  opera  is  light,  but  exceedingly 
brilliant,  and  the  leading  roles  have  always  been 
esteemed  by  great  artists.  That  of  Marie  was  a 
favorite  one  with  Jenny  Lind,  Patti,  Sontag,  and 
Albani. 


76         THE  STANDARD  LIGHT  OPERAS. 


iDon  Pasquale. 

[Opera  buffa,  in  three  acts  ;  text  and  music  by  Donizetti.     First 
produced  at  the  Theatre  des  Italiens,  Paris,  January  4,  1843.] 

PERSONAGES. 

Don  Pasquale,  an  obstinate  but  kind-hearted  bachelor. 

Dr.  Malatesta,  his  friend  and  physician. 

Ernesto,  Don  Pasquale's  nephew. 

NoRiNA,  a  young  widow. 

Notary. 

[Valets,  chambermaids,  majordomo,  dressmaker,  etc.] 

The  scene  is  laid  in  Rome  ;  time,  last  century. 

The  opening  of  the  first  act  of  "  Don  Pasquale  " 
discloses  the  Don  enraged  with  Ernesto,  his 
nephew,  because  he  will  not  nnarry  to  suit  him. 
Dr.  Malatesta,  a  mutual  friend,  comes  to  the 
help  of  Ernesto,  to  whom  he  is  greatly  attached, 
and  contrives  a  scheme  to  further  his  interests. 
He  urges  the  Don  to  marry  a  lady,  pretending  she 
is  his  (the  doctor's)  sister,  in  reality  Norina,  with 
whom  Ernesto  is  in  love.  Norina  is  let  into  the 
secret,  her  part  being  to  consent  to  the  marriage 
contract  and  then  so  torment  Don  Pasquale  that 
he  will  be  glad  to  get  rid  of  her  and  even  consent 
to  her  marriage  with  Ernesto. 

In  the  second  act  Ernesto  is  found  bewailine; 
his  fate.  The  Don  enters,  showily  arrayed  for 
his  wedding.  Norina  appears  with  the  doctor, 
and  shyly  and  reluctantly  signs  the  wedding-con- 


DON  FASQUALE.  7/ 

tract.  As  soon  as  she  has  signed  it,  however,  she 
drops  all  modesty.  The  bewildered  Ernesto  is 
kept  quiet  by  signs  from  the  doctor.  Norina  first 
refuses  all  the  Don's  demonstrations,  and  then 
declares  Ernesto  shall  be  her  escort.  She  sum- 
mons the  servants,  and  lays  out  a  scheme  of  house- 
keeping upon  such  an  extravagant  scale  that  Don 
Pasquale  declares  he  will  not  pay  the  bills.  She 
says  he  shall,  as  she  is  now  master  of  the  house. 

In  the  third  act  Norina  continues  her  annoying 
antics.  She  employs  the  most  expensive  milliners 
and  modistes.  At  length,  when  he  finds  that  she  is 
going  to  the  theatre,  he  forbids  it.  A  quarrel 
follows.  She  boxes  his  ears,  and  as  she  flounces 
out  of  the  room  she  purposely  drops  a  letter,  the 
contents  of  which  add  jealousy  to  his  other  troubles. 
At  this  juncture  Dr.  Malatesta  comes  in  and 
condoles  with  him.  Nothing  will  satisfy  Don  Pas- 
quale, however,  except  her  leaving  the  house,  and 
finally  he  orders  her  to  go,  at  the  same  time  taxing 
her  with  having  a  lover  concealed  on  the  premises. 
The  doctor  pleads  with  him  to  let  his  nephew 
marry  Norina.  When  he  finds  she  is  really  the 
doctor's  sister,  he  is  only  too  glad  to  get  out  of  his 
troubles  by  consenting  to  the  marriage  of  the 
young  couple  and  blessing  them. 

The  principal  numbers  in  the  first  act  are  the 
duet  for  Ernesto  and  Don  Pasquale ;  the  scena  for 
Norina,  "And  in  that  Look  she  gave";  and  the 
charming  duet  for  Norina  and  the  doctor,  "  What 
Sport  we  '11  have,"  closing  the  act.     The  second 


78    THE  STANDARD  LIGHT  OPERAS. 

act  opens  with  the  lugubrious  aria,  "  Oh  !  how  at 
one  Fell  Blow,"  in  which  Ernesto  bewails  his  sad 
condition,  and  also  contains  a  charming  quartette. 
The  gem  of  the  opera  is  the  serenade  in  the  last 
act,  "How  Soft  the  Air  —  in  April  Night  so  Fair," 
better  known  perhaps  by  its  Italian  title,  "Com  'e 
gentil,"  which  was  inserted  by  Donizetti  after  the 
first  performance  to  strengthen  the  work  and  make 
it  more  popular.  The  serenade  has  been  heard  the 
world  over  and  is  a  favorite  concert  number  still. 
The  charm  of  "  Don  Pasquale  "  lies  in  its  humor- 
ous situations  and  the  bright,  melodious  music 
which  illustrates  them.  For  brilliant  gayety  it 
stands  in  the  front  rank  of  comic  operas. 

lintia. 

[Grand  opera,  in  three  acts ;  text  by  Rossi.     First  produced  at 
the  Karnthnerthor  Theatre,  Vienna,  May  19,  1842.] 

PERSONAGES. 

Linda,  daughter  of  Antonio. 
PiEROTTO,  a  villager. 
Antonio,  a  farmer. 
Madalina,  his  wife. 
Marquis  of  Boisfleury. 
Carlo,  the  Marquis'  son. 
Prefect. 
[Villagers,  Savoyards,  etc.] 

The  scene  is  laid  in  Switzerland ;  time,  last  century. 

The  first  act  of  "  Linda  de  Chamouni  "  opens  in 
the  valley  of  that  name,  and  discloses  the  home  of 


LINDA.  79 

Antonio  Lonstolat,  a  farmer,  and  his  old  wife, 
Madalina,  whose  only  daughter,  Linda,  is  in  love 
with  Carlo,  a  young  painter  who  has  recently  come 
into  the  valley.  Misfortunes  have  overtaken  the 
old  couple,  and  they  are  in  danger  of  losing  their 
farm,  which  is  owned  by  the  Marchioness  de 
Sirval.  Their  anxiety  is  temporarily  relieved  when 
the  Marquis  of  Boisfleury  visits  them  and  assures 
them  he  will  save  the  farm,  his  real  purpose  being 
to  effect  the  ruin  of  Linda  by  ingratiating  himself 
with  her  parents.  The  Prefect  of  the  village,  how- 
ever, is  aware  of  his  designs,  and  induces  them  to 
let  Linda  accompany  a  party  of  villagers  to  Paris, 
promising  at  the  same  time  to  place  her  with  his 
brother,  who  is  supposed  to  be  living  in  that  city. 
She  soon  leaves  under  the  protection  of  Pierotto, 
the  Savoyard. 

The  second  act  discloses  them  on  the  way  to 
Paris,  but  Linda  unfortunately  loses  her  companion. 
Upon  reaching  Paris  she  finds  that  the  Prefect's 
brother  is  dead.  Meanwhile  Carlo,  who  has 
followed  her,  arrives,  and  reveals  to  her  that  he  is 
the  Viscount  Sirval,  son  of  the  Marchioness,  and 
nephew  of  the  Marquis.  He  renews  his  offer  of 
marriage,  and  places  her  in  a  handsome  apartment. 
In  these  questionable  surroundings  Pierotto  dis- 
covers her.  Her  father,  who  has  had  to  give  up 
the  farm,  also  finds  her,  and,  distrusting  her  inno- 
cence amid  such  luxury,  curses  her.  The  Mar- 
chioness meanwhile,  who  has  learned  of  her  son's 
attachment,  threatens  to  imprison  Linda  if  he  does 


8o         THE  STANDARD  LIGHT  OPERAS. 

not  marry  the  lady  she  has  selected  for  him.  He 
gives  his  feigned  consent,  and  Linda,  thinking  he 
has  deserted  her,  goes  insane. 

In  the  last  act  Pierotto  takes  her  back  to  her 
native  village.  Carlo  arrives  there  in  search  of 
her,  and  finding  her  with  Pierotto  sings  to  her, 
hoping  she  will  recognize  his  voice  and  that  her 
reason  may  return.  The  song  has  the  desired 
effect.  Subsequently  the  Marchioness  relents,  gives 
her  consent  to  their  union,  and  all  ends  happily. 

The  music  of  "Linda"  is  of  that  serious  and 
dignified  kind  which  justifies  its  inclusion  in  the 
list  of  grand  operas.  In  the  first  act  the  opening 
aria  of  Antonio,  '*  We  were  both  in  this  Valley 
nurtured,"  is  a  touching  expression  of  the  sorrow 
of  the  aged  couple.  Linda's  farewell,  '^  Oh,  Stars 
that  guide  my  Fervent  Love,"  familiar  on  the  con- 
cert stage  by  its  Italian  title,  "  O,  luce  di  quest* 
anima,"  is  an  aria  of  strong  dramatic  power,  and 
has  always  been  a  popular  favorite.  In  this  act 
also  are  Pierotto's  pathetic  ballad,  "  Once  a  Better 
Fortune  seeking,"  and  the  passionate  duet  for 
Linda  and  Carlo,  "  Oh  that  the  Blessed  Day 
were  come."  The  principal  numbers  in  the  second 
act  are  the  brilliant  duet  for  Linda  and  Pierotto, 
"  Oh,  Linda,  at  thy  Happy  Fate,"  which  is  highly 
embellished,  and  the  aria  for  Linda,  "  Ah  !  go,  my 
Love."  The  last  act  contains  a  mournful  aria  by 
Carlo,  "  If  from  Heaven  the  Bolts  should  reach 
me  "  \  his  charming  song  in  which  he  appeals  to 
Linda,  '<  Hear  the  voice  that,  softly  singing  "  ;  and 


I 


THE   ELIXIR   OF  LOVE.  8i 

the  rapturous  duet  for  Linda  and  Carlo,  "  Ah ! 
the  Vision  of  thy  Sorrow  fades,"  which  closes  the 
opera. 

^\t  (Eliplr  of  lote. 

[Opera  buffa,  in  two  acts;  text  by  Romani.  First  produced  in 
Milan  in  1S32 ;  in  English  at  Drury  Lane  Theatre,  London,  in 
1839.] 

PERSONAGES. 

Nemorino,  a  young  husbandman. 

Sergeant  Belcore. 

Dr.  Dulcamara,  a  travelling  quack. 

Landlord. 

Notary. 

PiETRO,  peasant. 

Adina,  a  country  girl. 

Gr  AN  ETTA, 


„  .  her  companions. 

Floretta,  )  ^ 

[Farmers,  peasants,  soldiers,  villagers,  etc.] 

The  scene  is  laid  in  an  Italian  village ;  time,  last  century. 

Few  more  graceful  little  operas  have  been 
written  than  "  The  Elixir  of  Love."  Its  heroine, 
Adina,  a  capricious  country  girl,  is  loved  by  Nemo- 
rino, a  farmer,  whose  uncle  lies  at  the  point  of 
death,  also  by  Belcore,  a  sergeant,  whose  troops 
are  billeted  upon  the  neighboring  village.  Adina 
has  both  her  lovers  in  suspense  when  Dr.  Dul- 
camara, a  quack,  arrives  in  the  village  to  sell  his 
nostrums.  Nemorino  applies  to  him  for  a  bottle 
of  the  Elixir  of  Love,  and  receives  from  him  a 
bottle  of  ordinary  wine  with  the  assurance  that  if 
he  drinks  of  it  he  can  command  the  love  of  any 
6 


82  THE  STANDARD   LIGHT  OPERAS. 

one  on  the  morrow.  To  make  sure  of  its  agree- 
able properties,  he  drinks  the  whole  of  it  with  the 
result  that  he  accosts  Adina  in  a  half-tipsy  con- 
dition, and  so  disgusts  her  that  she  promises  to 
marry  the  sergeant  in  a  week.  In  the  mean  time 
an  order  comes  for  the  departure  of  the  troops,  and 
the  sergeant  presses  her  to  marry  him  that  day. 

Adina  gives  her  consent,  and  the  second  act 
opens  with  the  assembling  of  the  villagers  to  wit- 
ness the  signing  of  the  marriage  contract.  While 
the  principals  and  notary  retire  for  the  signing, 
Nemorino  enters,  and  finding  Dr.  Dulcamara  begs 
of  him  some  charm  that  will  make  Adina  love 
him ;  but  as  he  has  no  money  the  quack  refuses  to 
assist  him.  Nemorino  is  in  despair,  but  at  this 
juncture  the  sergeant  enters  out  of  humor,  as  the 
capricious  Adina  has  refused  to  sign  until  evening. 
Finding  that  Nemorino  needs  money,  he  urges  him 
to  enlist,  and  for  the  sake  of  the  bonus  of  twenty 
crowns  he  consents.  Nemorino  hastens  with  the 
money  to  the  quack,  and  obtains  a  second  bottle 
of  elixir  which  is  much  more  powerful  than  the 
first.  The  girls  of  the  village  somehow  have  dis- 
covered that  Nemorino's  uncle  has  died  and  left 
him  a  handsome  property,  of  which  good  fortune, 
however,  Nemorino  is  ignorant.  They  use  all 
their  charms  to  attract  his  favor.  Nemorino  at- 
tributes his  sudden  popularity  to  the  elixir,  and 
even  the  quack  himself  is  surprised  at  the  remark- 
able change  in  his  customer.  Nemorino  now  pays 
Adina   off  in  kind    by  making  her  jealous.     Dr. 


THE  ELIXIR   OF  LOVE.  ^Z 

Dulcamara  comes  to  her  assistance,  seeing  an 
opportunity  for  the  sale  of  more  elixir.  He  ex- 
plains its  properties  to  her,  tells  her  of  Nemorino's 
attachment,  and  advises  her  to  try  some  of  it. 
Struck  with  his  devotion,  she  announces  another 
change  of  mind  to  the  sergeant,  and  bestows  her 
hand  upon  the  faithful  Nemorino. 

The  opera  abounds  with  bright  and  gay  musical 
numbers,  the  most  attractive  of  which  are  the  long 
and  characteristic  buffo  song,  "  Give  Ear  now,  ye 
Rustic  Ones,"  in  which  Dr.  Dulcamara  describes 
his  various  nostrums  to  the  villagers ;  the  charm- 
ingly humorous  duet,  "  Much  obliged,"  for  Nemo- 
rino and  Dr.  Dulcamara ;  and  the  ensemble, 
"  The  Wine-cup  full  teeming,"  in  which  the  half- 
tipsy  Nemorino  appears  in  the  finale  of  the  first 
act.  The  prominent  numbers  of  the  second  act 
are  the  beautiful  duet,  *'What  Affection  and  oh, 
how  cruel,"  for  Adina  and  Dr.  Dulcamara ;  the 
beautiful  romanza  for  Nemorino,  "  In  her  Dark  Eye 
embathed  there  stood"  ("Una  furtiva  lacrima"), 
which  is  of 'world-wide  popularity;  and  Adina's 
gracefully  melodious  aria,  "  So  much  Joy  is  more 
than  my  Heart  can  contain." 


EICHBERG,   JULIUS. 
CI)e  £)octor  of  9llcantara. 

[Comic  operetta,  in  two  acts  ;  text  by  Wolfe.    First  produced  at 
the  Museum,  Boston,  Mass.,  April  7,  1862.] 

PERSONAGES. 

Dr.  Paracelsus. 
Senor  Balthazar. 
Carlos,  his  son. 
Perez, 


,  porters. 
Sancho,  ) 

Don  Pomposo,  alguazil. 

Donna  Lucrezia,  wife  of  Dr.  Paracelsus. 

Isabella,  her  daughter. 

Inez,  her  maid. 
[Serenaders,  citizens,  etc.] 
The  scene  is  laid  in  Alcantara,  Spain  ;  time,  last  century. 

THE  first  act  of  this  operetta  opens  with  a 
dainty  serenade  by  Carlos,  son  of  Seiior 
Balthazar,  to  Senorita  Isabella,  daughter  of  Dr. 
Paracelsus,  with  whom  he  is  in  love.  Isabella, 
who  is  intended  for  another  by  her  mother. 
Donna  Lucrezia,  prefers  this  unknown  serenader. 
As  the  song  closes,  Isabella,  Lucrezia,  and  even  the 
maid  Inez  claim  it  as  a  compliment,  and  quarrel 
over  it  in  an  effective  buffo  trio,  "  You  Saucy  Jade." 
Three  songs  follow  this  number,  —  "  Beneath  the 


THE  DOCTOR   OF  ALCANTARA.  85 

Gloomy  Convent  Wall,"  "  When  a  Lover  is  Poor," 
and  "  There  was  a  Knight,  as  I  've  been  told,"  in 
which  the  three  women  recite  their  unfortunate  love 
affairs.  As  their  songs  close,  the  doctor  enters 
with  the  announcement  that  a  basket  has  arrived, 
ostensibly  for  Inez.  The  curious  Lucrezia  looks 
into  it,  and  finds  Carlos,  who  immediately  jumps 
out  and  sings  a  passionate  love- song,  "  I  love,  I 
love,"  which  the  infatuated  Lucrezia  takes  to  her- 
self. The  love  scene  is  interrupted  by  a  sudden 
noise,  and  in  alarm  she  hurries  Carlos  back  into 
the  basket  and  flies.  Carlos  in  the  mean  time  gets 
out  again  and  fills  it  with  books.  The  doctor  and 
Inez  enter,  and  to  conceal  the  receipt  of  the  basket 
from  Lucrezia,  as  she  might  be  angry  with  the 
maid,  they  remove  it  to  a  balcony,  whence  by 
accident  it  tumbles  into  the  river.  Their  terror 
when  they  learn  that  a  man  was  concealed  in  it 
makes  an  amusing  scene,  and  this  is  heightened  by 
the  entrance  of  the  Alguazil,  who  announces  him- 
self in  a  pompous  bass  song,  "  I  'm  Don  Hypolito 
Lopez  Pomposo,"  and  inquires  into  the  supposed 
murder. 

In  the  second  act  the  situation  becomes  still 
further  complicated  when  the  doctor  and  Inez 
find  Carlos  in  the  house.  Convinced  that  he  is  a 
detective,  they  seek  to  conciliate  him  by  offering 
him  wine,  but  by  mistake  give  him  a  narcotic 
draught  which  the  doctor  had  mixed  for  one  of 
his  patients.  Carlos  falls  insensible,  and  thinking 
him  dead,  they  hide  him  under  a  sofa.     Mean- 


86         THE  STANDARD   LIGHT  OPERAS. 

while  Seiior  Balthazar,  the  father  of  the  youth 
whom  Isabella  supposes  she  is  to  be  forced  to 
marry,  and  who  turns  out  to  be  Carlos,  arrives  to 
pass  the  night.  As  they  have  no  bed  for  him,  he 
sleeps  upon  the  sofa  over  the  supposed  corpse  of 
his  own  son.  A  quartette,  *'  Good-night,  Senor 
Balthazar,"  follows,  which  is  full  of  humor,  mingled 
with  ghostly  terror,  and  grotesque  in  its  effect, 
especially  in  the  accompaniment.  Daylight,  how- 
ever, dispels  the  illusion,  and  a  happy  denouement 
is  reached  in  the  finale,  *'  Hope,  ever  Smiling," 
which  is  quite  brilliant  in  character.  The  operetta 
is  very  amusing  in  its  situations,  the  songs  are 
pretty  and  tuneful,  and  the  concerted  music  is 
particularly  effective. 


FLOTOW,   FRIEDRICH   VON. 
JHartba. 

[Opera  comique,  in    three  acts ;    text  by  St.  Georges.     First 
produced  in  Vienna,  November  25,  1847.] 

PERSONAGES. 

Plunkett,  a  wealthy  young  farmer. 

Lionel,  his  adopted  brother,  afterwards  Earl  of  Derby. 

Lord  Tristan  Mickleford,  Lady  Henrietta's  cousin. 

Sheriff  of  Richmond,  footman  to  Lady  Henrietta. 

Lady  Henrietta,  Maid  of  Honor  to  the  Queen, 

Nancy,  her  waiting-maid. 

Molly  Pitt,     ^ 

Polly  Smith^  (  servants. 

Betsy  Witt,    ) 

[Farmers,  farmers'  wives,  servants,  ladies,  hunters,  hun- 
tresses, and  footmen. 1 


The  scene  is    laid  in  Richmond,  England ;     time  of    Queen 
Anne. 

THE  first  act  of  "  Martha,"  unquestionably 
the  most  popular  of  all  light  operas,  opens 
during  the  progress  of  the  servants'  fair  at  Rich- 
mond, whither  Lady  Henrietta,  maid  of  honor  to 
the  Queen,  accompanied  by  Nancy,  her  maid,  and 
Sir  Tristan,  her  aged  cousin  and  admirer,  tired  of 
court  life,  have  resorted  in  the  disguise  of  servants. 
In  the  first  three  scenes  they  arrange  their  mas- 


88    THE  STANDARD  LIGHT  OPERAS. 

querade.  Sir  Tristan,  much  to  his  disgust,  is  to  be 
known  as  John,  and  Lady  Henrietta  as  Martha. 
The  first  number  is  a  duet  for  the  two  ladies,  "  Of 
the  Knights  so  Brave  and  Charming,"  followed  by 
an  animated  trio  with  Sir  Tristan,  in  dance  time. 
The  fourth  scene  is  laid  in  the  market-place,  in 
which  appear  Plunkett,  a  wealthy  farmer,  and 
Lionel,  his  adopted  brother.  The  parentage  of 
the  latter  is  unknown,  but  he  has  a  souvenir 
from  his  father  in  the  form  of  a  ring  which  he 
is  to  present  to  the  Queen  whenever  he  shall 
find  himself  in  trouble.  Lionel  tells  his  story  in 
a  tenor  aria,  "  Lost,  proscribed,  a  Humble  Stran- 
ger," which  has  been  a  favorite  song  the  world 
over  for  years.  The  two  have  come  to  the  fair 
to  engage  servants  for  the  year,  who  are  bound 
over  by  the  sheriff.  Plunkett  and  Lionel  meet 
Martha  and  Nancy,  and  are  so  delighted  with 
their  looks  that  they  tender  the  customary  bonus 
which  secures  them.  They  accept  it  as  a  joke,  but 
find  that  it  is  a  serious  matter  when  the  young 
farmers  drive  off  with  them,  leaving  Sir  Tristan  in 
despair. 

The  second  act  opens  in  Plunkett's  farmhouse. 
After  having  learned  their  names,  Plunkett  at- 
tempts to  find  out  what  they  can  do,  and  tests 
them  first  at  the  spinning-wheel,  which  leads  up  to 
the  delightful  spinning  quartette,  *'  When  the  Foot 
the  Wheel  turns  lightly."  It  does  not  take  the 
brothers  long  to  find  out  that  they  have  engaged 
servants  who   are  more   ornamental    than   useful, 


MARTHA.  89 

but  they  decide  to  keep  them.  Nancy  in  a  pet 
kicks  her  wheel  over  and  runs  off,  followed  by 
Plunkett,  leaving  Lionel  alo.ne  with  Martha.  He  at 
once  falls  in  love  with  her,  snatches  a  rose  from  her 
bosom,  and  refuses  to  return  it  unless  she  will  sing. 
She  replies  with  the  familiar  song,  "  The  Last  Rose 
of  Summer,"  interpolated  by  Flotow,  and  made 
still  more  effective  by  introducing  the  tenor  in  the 
refrain.  He  asks  for  her  hand,  but  she  makes  sport 
of  him.  In  the  mean  time  Plunkett  and  Nancy  re- 
turn, and  a  beautiful  Good -night  quartette  follows, 
"  Midnight  Sounds."  The  brothers  then  retire,  and 
Martha  and  Nancy,  aided  by  Sir  Tristan,  make 
their  escape.  The  next  scene  opens  in  the  woods 
where  farmers  are  carousing ;  among  them  Plunkett, 
who  sings  a  rollicking  drinking-song,  **  I  want  to 
ask  you."  The  revel  is  interrupted  by  a  hunting- 
party  of  court  ladies,  headed  by  the  Queen. 
Martha  and  Nancy  are  among  them,  and  are  rec- 
ognized by  Plunkett  and  Lionel,  but  they  are  not 
recognized  in  turn.  Plunkett  attempts  to  seize 
Nancy,  but  the  huntresses  drive  him  off,  leaving 
Lionel  and  Lady  Henrietta  alone.  The  scene  is 
one  of  the  most  effective  in  the  opera,  and  contains 
a  beautiful  tenor  solo,  "  Like  a  Dream  Bright  and 
Fair"  —  better  known  perhaps  by  its  Italian 
title,  "  M' appari,"  and  a  romance  for  soprano, 
"Here  in  Deepest  Forest  Shadows,"  the  act  closing 
with  a  finely  concerted  quintette  and  chorus.  The 
despairing  Lionel  bethinks  him  of  his  ring,  gives  it 
to  Plunkett,  and  asks  him  to  show  it  to  the  Queen. 


90         THE  STANDARD  LIGHT  OPERAS. 

It  proves  that  he  is  the  only  son  of  the  late  Earl 
of  Derby,  and  his  estate,  of  which  he  has  been  un- 
justly deprived,  is  restored  to  him. 

The  opera  reaches  its  musical  climax  in  the 
second  act.  The  third  is  mainly  devoted  to  the 
denouement.  The  Lady  Henrietta,  who  has  really 
been  seriously  in  love  with  Lionel,  is  united  to 
him,  and  it  hardly  needs  to  be  added  that  Nancy 
and  Plunkett  go  and  do  likewise. 

^tratiella. 

[Romantic  opera,  in  three  acts;  text  by  Deschamps  and  Pacini. 
First  produced  as  a  lyric  drama  at  the  Palais  Royal  Theatre, 
Paris,  in  1837  ;  rewritten  and  produced  in  its  present  form,  at 
Hamburg,  December  30,  1844.] 

PERSONAGES. 

Alessandro  Stradella,  a  famous  singer. 
Bassi,  a  rich  Venetian. 
Leonora,  his  ward. 
Barbarino,  K  ^^^.^^ 
Malvolio,    ) 
[Pupils   of  Stradella,  masqueraders,  guards,  and  people 
of  the  Romagna.] 

The  scene  is  laid  in  Venice  and  Rome ;  time,  the  year  1 769. 

The  story  of  the  opera  follows  in  the  main  the 
familiar  historical,  and  probably  apocliryphal,  nar- 
rative of  the  experiences  of  the  Italian  musician, 
Alessandro  Stradella,  varying  from  it  only  in  the  de- 
nouement. Stradella  wins  the  hand  of  Leonora,  the 
fair  ward  of  the  wealthy  Venetian  merchant,  Bassi, 
who  is  also  in  love  with  her.     They  fly  to  Rome 


STRADELLA.  91 

and  are  married,  but  in  the  mean  time  are  pursued 
by  two  bravos,  Barbarino  and  Malvolio,  who  have 
been  employed  by  Bassi  to  make  way  with  Stra- 
della.  They  track  him  to  his  house,  and  while  the 
bridal  party  are  absent,  they  enter  in  company 
with  Bassi  and  conceal  themselves.  Not  being 
able  to  accomplish  their  purpose  on  this  occasion, 
they  secure  admission  a  second  time,  disguised  as 
pilgrims,  and  are  kindly  received  by  Stradella.  In 
the  next  scene,  while  Stradella,  Leonora,  and  the  two 
bravos  are  singing  the  praises  of  their  native  Italy, 
pilgrims  on  their  way  to  the  shrine  of  the  Virgin 
are  heard  singing  outside,  and  Leonora  and  Stra- 
della go  out  to  greet  them.  The  bravos  are  so 
touched  by  Stradella's  singing  that  they  hesitate  in 
their  purpose.  Bassi  upbraids  them,  and  finally, 
upon  receiving  an  additional  sum  of  money,  they 
agree  to  execute  his  designs,  and  conceal  them- 
selves. When  Stradella  returns  and  rehearses  a 
hymn  to  the  Virgin  which  he  is  to  sing  on  the 
morrow,  they  are  so  affected  that  they  emerge  from 
their  hiding-place,  confess  the  object  of  their  visit, 
and  implore  his  forgiveness.  Explanations  follow, 
a  reconciliation  is  effected,  and  the  lovers  are  made 
happy.  This  denouement  differs  from  that  of  the 
historical  version,  in  which  both  lovers  are  killed. 

The  principal  numbers  are  Stradella's  serenade, 
"  Hark  !  Dearest,  hark  "  ;  the  following  nocturne, 
"Through  the  Valleys";  the  brilliant  carnival 
chorus,  "  Joyous  ringing,  Pleasure  singing,"  in  the 
first  act :  the  aria  of  Leonora  in  her  chamber,  "  Be 


92  THE  STANDARD  LIGHT  OPERAS. 

Witness  to  my  Fond  Heart's  Dreaming,"  the  rol- 
licking drinking-song  of  the  two  bravos,  "  Quick,  let 
us  drink,"  and  the  bandit  ballad,  "  Within  Lofty 
Mountains,"  sung  by  Stradella,  in  the  second  act ; 
and  an  exquisite  terzetto,  "  Tell  me,  then,  Friend 
Barbarino,"  sung  by  Bassi  and  the  two  bravos 
when  they  hesitate  to  perform  their  work ;  and 
Stradella's  lovely  hymn  to  the  Virgin,  ''  Virgin 
Maria,  humbly  adoring,"  in  the  third  act. 


GENEE,     RICHARD. 


[Op6ra  comique,  in  three  acts ;  text  by  Zell.    First  produced  in 
Vienna  in  1877.] 

PERSONAGES. 

Marquis  de  Marsillac. 

Hector,  his  nephew. 

Marquis  d'  Aubign^,  King's  chamberlain. 

BoMBARDiNE,  hls  henchman. 

Louis  XIV. 

MONS.  l' ABBi. 

Nanon,  mistress  of  the  Golden  Lamb. 

Ninon  de  l'Enclos,  a  famous  beauty. 

Mme.  de  Frontenac,   I  -,.         ,    -  .     J 
-  TT       ,  (■  Ninon's  friends. 

Countess  Houliers,    \ 

Gaston. 

Mme.  de  Maintenon,  King's  mistress. 
[Country  relatives,  peasants,  soldiers,  courtiers,  ladies, 
etc.] 
The  scene  is  laid  in  Paris :  time  of  Louis  the  Fourteenth. 


THE  first  act  opens  at  the  inn  of  the  Golden 
Lamb,  near  the  gates  of  Paris,  kept  by 
Nanon,  who  has  become  so  famous  for  her  wit 
and  beauty  that  the  Marquis  de  Marsillac,  direc- 
tor of  the  Royal  Theatre,  takes  his  nephew  Hec- 
tor there    to  see  her.     Thither  also  goes  Ninon 


94  THE  STANDARD   LIGHT  OPERAS. 

de  I'Enclos,  the  famous  beauty,  to  get  a  sight 
of  Nanon,  who,  she  suspects,  has  attracted 
the  attentions  of  her  own  lover,  the  Marquis 
d'Aubign^.  She  is  told  that  Nanon  is  to  be 
married  to  Grignan,  the  drummer,  and  returns  to 
the  city  with  her  suspicions  allayed.  Grignan, 
however,  is  in  reality  the  Marquis,  who,  in  the  dis- 
guise of  a  drummer,  intends  to  abduct  Nanon. 
After  a  serenade  to  her  she  surprises  him  with  a 
proposal  of  marriage ;  but  when  everything  is 
ready  for  the  ceremony,  the  Marquis  secures  his 
own  arrest  by  his  Colonel  on  account  of  a  duel. 
While  grieving  over  the  arrest,  Nanon  receives  a 
ring  and  some  friendly  assurances  from  Gaston, 
the  page  of  Ninon  de  I'Enclos,  and  thereupon 
turns  to  her  for  help  in  rescuing  the  supposed 
Grignan  from  death,  which  is  the  penalty  for 
duelling. 

The  second  act  opens  in  Ninon's  salon.  Mar- 
sillac,  his  nephew,  and  an  Abb^,  who  is  one  of 
Ninon's  lovers  and  confessor  of  Mme.  de  Main- 
tenon,  are  present  at  a  ball,  likewise  D'Aubign^, 
who  is  reproached  by  Ninon  for  having  remained 
away  so  long  and  forgotten  her  birthday.  To 
escape  embarrassment  he  sings  to  her  the  same 
serenade  he  had  sung  to  Nanon.  Shortly  after- 
wards Nanon  arrives  to  seek  Ninon's  aid  in  saving 
Grignan.  In  the  mean  time  D'Aubigne,  jealous 
of  Hector,  because  he  pays  court  both  to  Nanon 
and  Ninon,  challenges  him,  and  they  hur^ry  into 
the  latter's  garden  and  settle  their  quarrel  with  the 


NANON.  95 

sword.  During  their  absence  Marsillac,  who  has 
noted  Grignan's  serenade,  also  sings  it,  accompanied 
by  the  musicians  of  the  court  chapel,  but  is  only 
laughed  at  for  his  trouble.  When  D'Aubign^ 
returns  from  the  duel,  he  is  asked  to  clear  up  the 
mystery  of  this  song ;  but  before  he  can  do  so  the 
guard,  who  has  seen  the  duel,  enters  and  arrests 
Hector,  who  has  been  wounded  and  refuses  to  give 
the  name  of  his  opponent. 

The  third  act  opens  in  the  private  chapel  of 
Mme.  de  Maintenon,  where  the  Abb^  sings  to  her 
the  same  serenade  in  the  form  of  a  hymn.  Mar- 
sillac appears  to  ask  for  Hector's  pardon,  and 
receives  it  when  it  appears  that  D'Aubign^  was 
the  challenging  party.  D'Aubigne  thereupon  con- 
gratulates her  upon  her  birthday  with  the  serenade, 
and  Marsillac  repeats  it.  Ninon  and  Nanon  next 
appear  to  intercede  for  their  lovers,  D'xA.ubign^ 
and  Grignan.  The  King  presents  Nanon  with  the 
life  of  Grignan,  and  she  in  turn,  recognizing  Gri- 
gnan, presents  the  pardon  to  Ninon.  Touched  by 
her  generosity,  Grignan  offers  Nanon  his  hand,  and 
Mme.  de  Maintenon,  who  is  somewhat  uneasy  at 
the  King's  evident  admiration  for  Nanon,  gives 
her  consent  and  she  is  made  Marquise  d'x'^ubign^. 

The  music  of  ''  Nanon "  is  gay  and  brilliant 
throughout.  The  principal  numbers  are  the  sere- 
nade, a  minstrel's  song,  as  it  is  usually  designated, 
"  Ah  !  what  a  Joyful  Day  is  this ;  I  am  so  Full  of 
Glee,"  which  is  heard  in  various  forms  in  all  three 
acts ;    the    opening    drinking-choruses ;    Nanon's 


96  THE  STANDARD   LIGHT  OPERAS. 

ballad,  "  Once  before  this  Tavern  straying  "  ;  the 
jolly  chorus  of  the  country  relatives,  "  Here  we 
come  in  Troops  of  Dozens,  Uncles,  Nephews,  Aunts, 
and  Cousins  "  ;  Gaston's  ballad,  ''AH  that  French- 
men now  will  heed "  ;  Hector's  song,  "  Young 
appearing,"  in  the  second  act;  and  the  lively 
concerted  finale  of  the  last  act. 


GOUNOD,  CHARLES. 

[Pastoral  opera,  in  three  acts  ;  text  by  Carr6.     First  produced 
at  the  Theatre  Lyrique,  Paris,  March  19,  1864.] 

PERSONAGES. 

MiRELLA,  daughter  of  Raimondo. 

Tavena,  a  fortune-teller. 

Andreluno,  a  shepherd  boy. 

ViNCENZiNA,  sister  of  Vincenzo. 

Clemenza,  a  peasant  girl. 

Vincenzo,  lover  of  Mirella. 

Urias,  his  rival. 

Raimondo,  a  wealthy  farmer. 

Ambrogio,  father  of  Vincenzo. 
[Villagers,  citizens,  etc.] 
The  scene  is  laid  in  Provence  ;  time,  the  last  century. 

THE  opera  of  "  Mirella,"  in  France  known  as 
*'  Mireille,"  is  founded  upon  the  "  Mireio  " 
of  Mistral,  the  Provengal  poet,  and  was  originally 
written  in  five  acts.  Subsequently  it  was  reduced 
to  three  acts  and  a  waltz  was  added  to  the  finale. 
Though  one  of  the  lighter  of  Gounod's  operas, 
and  not  very  strong  dramatically,  it  has  great 
lyric  beauty.  The  first  scene  opens  in  a  mul- 
berry grove.  Mirella  is  rallied  by  the  girls  upon 
her  love   for  Vincenzo,  the  basket- maker,   and  is 


98  THE  STANDARD  LIGHT  OPERAS. 

also  warned  by  Tavena,  the  fortune-teller,  against 
yielding  to  her  attachment,  as  she  foresees  that 
Raimondo,  Mirella's  father,  will  never  consent  to 
the  union.  When  she  meets  her  lover,  however, 
they  renew  their  pledges  and  arrange,  if  their 
plans  are  thwarted,  to  meet  at  the  Chapel  of 
the  Virgin. 

The  second  act  opens  with  a  merry-making  at 
Aries.  Tavena  informs  Mirella  that  Vincenzo  has 
a  rival  in  Urias,  a  wild  herdsman,  who  has  asked 
her  hand  of  her  father.  Mirella  however  repulses 
him  when  he  brings  the  father's  consent.  Am- 
brogio,  Vincenzo's  father,  and  his  daughter,  Vin- 
cenzina,  intercede  with  Raimondo  in  Vincenzo's 
behalf,  but  in  vain.  Mirella,  who  has  overheard 
them,  declares  to  her  father  her  irrevocable 
attachment  for  Vincenzo,  which  throws  him  into 
such  a  rage  that  he  is  about  to  strike  her.  She  is 
saved  from  the  blow  by  appealing  to  the  memory 
of  her  mother. 

The  last  act  opens  upon  a  desolate  sunburned 
plain.  Mirella  appears  toiling  across  the  hot  sands 
to  keep  her  appointment  with  her  lover  at  the 
Chapel  of  the  Virgin,  accompanied  by  Andreluno, 
the  shepherd  boy,  singing  to  the  accompaniment 
of  his  pipe.  Tavena  meets  them,  and  assures 
Mirella  that  Vincenzo  will  keep  his  appointment, 
and  then  returns  to  Aries  to  plead  with  the  father 
in  Mirella's  behalf.  The  poor  girl  arrives  at  the 
chapel  nearly  prostrated  with  the  burning  heat. 
Vincenzo  soon  appears,  and  is  shortly  followed  by 


MIR  ELLA.  99 

Raimondo,  who  is  so  affected  by  the  pitiable  con- 
dition of  his  daughter,  that  he  gives  his  consent  to 
their  union.  A  biographer  of  Gounod  has  con- 
densed the  story  of  the  opera  into  these  few  words  : 
"  A  rich  young  girl,  a  poor  young  man,  an  ill-fated 
love ;  and  death  of  the  young  girl  by  sunstroke." 
In  the  revised  version  the  denouement  is  happy 
instead  of  tragic. 

The  first  act  opens  with  the  pretty  and  graceful 
pastoral  chorus  of  the  maidens  under  the  mulberry- 
trees,  "  Sing,  Happy  Maidens,  as  we  gather."  The 
second  act  also  opens  with  an  equally  graceful  chorus 
and  farandole,  "The  Gay  Farandole  never  fails 
to  delight,"  followed  by  a  beautiful  Provenyal  folk 
song,  "  Evening  is  Sweet  with  Summer  Flowers," 
which  is  full  of  local  color.  Tavena  sings  a  quaint 
fortune-teller's  roundelay,  "  'T  is  the  Season  of  the 
Year,"  and  in  the  next  scene  Mirella  has  a  number 
of  rare  beauty,  "The  Frowns  of  Fortune  I  fear 
no  longer,"  in  which  she  declares  her  unalterable 
love  for  Vincenzo.  The  finale  of  this  act  with  its 
vigorous  aria  for  Mirella,  "  At  your  Feet,  behold,  I 
remain,"  is  the  only  really  dramatic  episode  in  the 
opera.  The  third  act  opens  with  the  quaint  little 
song  of  Andreluno  with  oboe  accompaniment, 
"  The  Day  awakes,"  and  also  contains  a  plaintive 
song  for  tenor,  "  Angels  of  Paradise."  It  closes 
with  a  waltz  song,  "  Gentle  Bird  of  the  Morning," 
which  is  most  lavishly  embellished  and  ends  the 
quiet,  naive,  little  pastoral  opera  with  a  brilliant 
vocal  pyrotechnical  display. 


HUMPERDINCK,    ENGELBERT, 
|)anfi;cl  nrCn  (SttttU 

[Fairy  opera,  in  three  acts  ;  text  by  Wette.     First  produced, in 
Germany  in  1894.] 

PERSONAGES. 

Peter,  a  broom-maker. 

Gertrude,  his  wife. 

Witch. 

Hansel. 

Gretel. 

Sandman,  the  sleep  fairy. 

Dewman,  the  dawn  fairy. 
[Angels,  witches,  and  fairies.] 
The  scene  is  laid  in  a  German  forest ;  time,  the  present. 

THE  story  of  "  Hansel  and  Gretel "  is  based 
upon  one  of  Grimm's  fairy  tales.  The  first 
act  opens  at  the  house  of  Peter,  the  broom-maker, 
who  with  his  wife  is  away  seeking  food.  The 
children,  Hansel  and  Gretel,  have  been  left  with 
injunctions  to  knit  and  make  brooms.  Instead  of 
working  they  indulge  in  a  childish  romp,  which  is 
interrupted  by  the  mother,  who  has  returned.  In 
her  anger  she  upsets  a  pitcher  of  milk,  which  was 
the  only  hope  of  supper  in  the  house.  Thereupon 
she  sends  them  into  the  forest,  and  bids  them  not 
to  come  home  until  they  have  filled  their  basket 


HANSEL  AND   G RE  TEL.  loi 

with  strawberries.  When  Peter  returns  he  brings 
provisions  with  him,  but  breaks  out  in  a  fit  of  rage 
when  he  is  informed  the  children  have  been  sent 
away,  telHng  his  wife  of  the  witch  who  haunts  the 
woods,  entices  children  to  her  honey-cake  house, 
bakes  them  into  gingerbread,  and  devours  them. 

The  second  act  opens  with  a  characteristic  in- 
strumental number,  "The  Witches'  Ride."  The 
children  are  disclosed  near  the  llsenstein,  making 
garlands  and  mocking  the  cuckoos  in  a  beautiful 
duet  with  echo  accompaniment.  At  last  they 
realize  that  they  are  lost,  and  their  distress  is 
heightened  by  strange  sights  and  sounds.  In  the 
midst  of  their  trouble  the  Sandman  approaches, 
strews  sand  in  their  eyes,  and  sings  them  to  sleep 
with  a  charming  lullaby,  after  they  have  recited 
their  prayer,  "  When  at  Night  I  go  to  sleep,  Four- 
teen Angels  Watch  do  keep."  As  they  go  to  sleep, 
the  fourteen  angels  come  down  and  surround 
them,  while  other  angels  perform  a  stately  dance. 

The  third  act  is  called  "The  Witch's  House." 
The  angels  have  disappeared,  and  the  Dawn  Fairy 
wakens  the  children,  singing  a  delightful  song, 
"  I  'm  up  with  Early  Dawning."  Gretel  wakes  first, 
and  rouses  Hansel  by  tickling  him  with  a  leaf, 
accompanying  the  act  with  a  tickling  song.  When 
fairly  aroused,  they  discover  the  witch's  house, 
with  an  oven  on  one  side  and  a  cage  on  the  other. 
The  house  is  made  of  sweets  and  creams.  En- 
ticed by  its  sweetness,  the  hungry  children  break 
off  fragments,  and  are  surprised  at  their  work  by 


I02        THE  STANDARD  LIGHT  OPERAS. 

the  old  witch  within.  She  comes  out,  and,  after  a 
series  of  invocations,  accompanied  with  character- 
istic music,  prepares  to  bake  Gretel  in  the  oven ; 
but  while  she  is  looking  into  it  the  children  push 
her  into  the  fire.  Then  they  dance  a  witch  waltz, 
and  meanwhile  the  oven  falls  into  bits.  Swarms 
of  children  rush  round  them,  released  from  their 
gingerbread  disguise,  and  sing  a  song  of  gratitude 
as  two  of  the  boys  drag  out  the  witch  from  the 
ruins  in  the  form  of  a  big  cake.  The  father  and 
mother  at  last  find  the  children,  and  all  join  in 
the  pious  little  hymn,  '*  When  past  bearing  is  our 
Grief,  God,  the  Lord,  will  send  Relief."  It  is  only 
a  little  child's  tale,  but  it  is  accompanied  by  music 
of  the  highest  order,  and  built  up  on  the  same  plan 
of  motives  which  Wagner  has  used  in  his  imposing 
Nibelung  Trilogy. 


JAKOBOWSKI,    EDWARD. 
CDrminie. 

[Musical  comedy,  in  two  acts;  text  by  Bellamy  and  Paulton. 
First  produced  at  the  Comedy  Theatre,  London,  November  9, 
1885  ;  in  New  York  at  the  Casino,  March  10,  1886.] 

PERSONAGES. 

Marquis  de  Pontvert. 

Eugene  Marcel,  the  Marquis'  secretary. 

ViCOMTE    DE   BrISSAC. 

Delaunay,  a  young  officer. 

DuFois,  landlord  of  the  Golden  Lion. 

Chevalier  de  Brabazon,  guest  of  the  Marquis. 

Ravannes,  )  ^       ^,  . 

„  >  two  thieves. 

Cadeaux,    ) 

Cerise  Marcel,  Erminie's  companion. 

Javatte,  Erminie's  maid. 

Princesse  de  Gramponeur. 

Erminie  de  Pontvert. 
[Soldiers,  peasantry,  guards,  waiters,  etc.] 
The  scene  is  laid  in  France ;  time,  the  last  century, 

THE  Story  of  "  Erminie  "  is  based  upon  the 
old  melodrama  "  Robert  Macaire,"  the  two 
vagabonds,  Ravannes  and  Cadeaux,  taking  the 
places  of  the  two  murderers,  Macaire  and  Jacques 
Strop.  Few  melodramas  were  more  popular  in 
their  day  than  "Robert  Macaire,"  in  which 
Lemaitre,  the  great  French  actor,  made  one  of 


104        THE  STANDARD  LIGHT  OPERAS. 

his  most  conspicuous  successes.  It  is  also  true 
that  few  musical  comedies  have  been  more  suc- 
cessful than  "  Erminie."  At  the  opening  of  the 
opera,  a  gallant  on  the  way  to  his  betrothal  with 
a  young  lady  whom  he  has  never  seen  is  at- 
tacked by  two  thieves,  Ravannes  and  Cadeaux, 
who  carry  off  his  wardrobe  and  tie  him  to  a 
tree.  Later,  Ravannes  arrives  in  the  midst  of 
the  betrothal  festivities,  and  passes  himself  off  as 
the  expected  guest.  He  introduces  Cadeaux  as  a 
nobleman,  and  explains  their  lack  of  proper  attire 
with  the  statement  that  they  had  been  robbed 
while  on  the  way  there.  Erminie  has  an  affection 
for  Eugene,  her  father's  secretary,  and  none  for  the 
man  who  claims  to  be  a  suitor  for  her  hand. 
Ernst,  who  was  the  real  victim  of  the  robbery, 
and  who  is  in  love  with  Cerise,  escapes  from  the 
predicament  in  which  the  two  thieves  placed  him, 
and  arrives  in  time  for  the  festivities,  to  find  him- 
self denounced  by  Ravannes  as  the  highwayman 
who  had  attacked  them  earlier  in  the  day.  Ra- 
vannes, by  assuming  great  magnanimity  and  a 
certain  nobility  of  conduct,  and  by  his  proffers  of 
help  to  Erminie  in  securing  the  man  she  loves  in 
return  for  her  assistance  in  his  plans,  of  which  she 
of  course  is  ignorant,  so  ingratiates  himself  in  her 
confidence  that  he  nearly  succeeds  in  robbing 
the  house.  In  the  end,  however,  the  two  vaga- 
bonds are  unmasked.  Eugene  obtains  the  hand 
of  Erminie,  and  Ernst  and  Cerise  are  equally 
fortunate. 


I 


ERMINIE.  105 

The  music  of  "  Erminie  "  is  light  and  graceful 
throughout.  Its  principal  numbers  are  Erminie's 
song,  "  Ah  !  when  Love  is  Young  " ;  the  duet  for 
Eugene  and  Erminie,  "  Past  and  Future  " ;  the 
Marquis'  stirring  martial  song,  *'  Dull  is  the  Life 
of  the  Soldier  in  Peace  "  ;  the  rollicking  thieves' 
duet,  "  We  're  a  Philanthropic  Couple,  be  it 
known";  Erminie's  pretty  dream  song,  "At 
Midnight  on  my  Pillow  lying,"  and  the  lullaby 
"Dear  Mother,  in  Dreams  I  see  her,"  which  is 
the  gem  of  the  opera;  the  song  and  whistling 
chorus,  "What  the  Dicky  Birds  say";  the  vocal 
gavotte,  "  Join  in  Pleasures,  dance  a  Measure  "  ; 
and  the  concerted  piece,  "Good-night,"  which 
leads  up  to  the  close  of  the  last  act. 


LECOCQ,   CHARLES. 

[Opera  bouffe,  in  three  acts  ;  text  by  Vanloo  and  Aterrier.  First 
produced  at  the  Th6atre  des  Fantasies  Parisiennes,  Brussels, 
March  21,  1874;  in  Paris,  November  11,  1874;  in  New  York  at 
the  Park  Theatre,  1875.] 

PERSONAGES. 

Don  Bolero  d'Alcarazas,  a  Pedro,  the  page. 

Spanish  grandee.  Paquita. 

Marasquin,  banker.  Pirate  Chief. 

Mourzook,  a  Moorish  chief.  Godfather. 

GiROFLE,   }  Don  Bolero's  twin  Godmother. 

GiROFLA,   )      daughters.  Fernand. 

Aurore,  their  mother.  Guzman. 

[Cousins,  bridesmaids,  pages,  pirates,  Moors,  etc.] 
The  scene  is  laid  in  Spain  ;  time,  the  last  century. 

THE  opening  scene  of  "  Girofle-Girofla " 
which,  with  "  La  Fille  de  Madame  Angot," 
made  the  reputation  of  Lecccq  as  an  opera- 
bouffe  composer,  introduces  Don  Bolero  d'Alca- 
razas, a  Spanish  grandee,  and  Aurore,  his  wife, 
also  their  twin  daughters,  Girofle  and  Girofla, 
who,  being  of  marriageble  age,  have  been  hastily 
betrothed,  Girofle  to  Marasquin,  a  banker  to  whom 
Don  Bolero  is  heavily  indebted,  and  Girofla  to 
Mourzook,  a  Moorish  chief  who  has  made  reg- 
ular demands  upon   Don   Bolero   for  money  on 


GIROFLE-GIROFLA.  107 

penalty  of  death.  By  the  double  marriage  he 
expects  to  get  rid  of  his  obligations  on  the  one 
hand  and  avoid  the  payment  of  the  enforced 
tribute  on  the  other.  Girofle  is  married  as  arranged, 
but  Girofla,  who  was  to  have  been  married  the 
same  day,  is  abducted  by  pirates  before  the  cere- 
mony can  be  performed.  When  Mourzook  arrives 
and  finds  he  has  no  bride,  he  is  in  a  terrible  rage, 
but  is  quieted  down  when,  after  a  little  manoeuvring 
by  Aurore,  Girofle  is  passed  off  on  him  as  Girofla 
and  is  thus  to  be  married  a  second  time. 

In  the  second  act  the  wedding  festivities  are 
going  on  and  both  bridegrooms  are  clamoring  for 
their  brides.  No  word  is  heard  from  Admiral 
Matamoras,  who  has  been  sent  to  capture  the 
pirates.  Don  Bolero  and  Aurore  resort  to  all  kinds 
of  expedients  to  settle  matters  and  pacify  the  irate 
banker  and  the  furious  Moor,  and  besides  have 
much  trouble  in  restraining  Girofle  from  flying  to 
her  Marasquin.  At  last  she  is  locked  up.  She 
manages  to  get  out,  however,  and  goes  off  with 
some  of  her  cousins  for  a  revel.  Her  absence  is 
explained  by  a  report  that  the  pirates  have  carried 
her  off  also,  which  adds  to  the  parents'  perplexity 
as  well  as  to  the  fury  of  Marasquin  and  Mourzook. 
At  last  Girofle  appears  in  a  tipsy  condition  and  is 
claimed  by  both.  The  act  closes  with  the  report 
that  Matamoras  has  been  defeated,  and  that  the 
pirates  have  carried  Girofla  to  Constantinople. 

The  third  act  opens  on  the  following  morning. 
The  two  would-be  husbands  have  been  locked  into 


io8        THE   STANDARD  LIGHT  OPERAS. 

their  apartments.  Marasquin  has  passed  a  quiet 
night,  but  Mourzook  has  smashed  the  furniture  and 
escaped  through  the  window  from  his  chamber. 
The  parents  assure  Marasquin  that  even  if  Mourzook 
returns  he  will  have  to  leave  that  afternoon,  and  sug- 
gest that  there  can  be  no  harm  in  letting  him  have 
Girofle  for  his  wife  until  that  time.  Marasquin  re- 
luctantly consents,  and  when  Mourzook  returns 
and  Girofle  is  presented  to  him  as  Girofla,  a 
ridiculous  love  scene  occurs,  which  Marasquin 
contrives  to  interrupt  by  various  devices.  Finally 
the  return  of  Girofla  is  announced,  and  Matamoras 
with  his  sailors  appears,  leading  her  by  the  hand. 
Explanations  are  made  all  round,  the  parents  are 
forgiven,  and  Mourzook  is  satisfied. 

The  music  is  lively  throughout  and  oftentimes 
brilliant,  and  of  a  higher  standard  than  usually 
characterizes  opera  bouffe.  The  most  taking 
numbers  are  the  ballad  with  pizzicato  accompani- 
ment, sung  by  Paquita,  ''  Lorsque  la  journee  est 
finis  "  ("  When  the  Day  is  finished  ")  ;  the  con- 
certed ensemble,  "A  la  chapelle "  ("To  the 
Church")  ;  the  grotesque  pirates'  chorus,  "  Parmi 
les  choses  d^licates "  ("Among  the  Delicate 
Things  to  do"),  and  the  sparkling  duet  for  Girofle 
and  Marasquin,  "  C'est  fini,  le  mariage"  ("The 
Marriage  has  been  solemnized"),  in  the  first  act : 
the  bacchanalian  chorus,  "  Ecoutez  cette  musique  " 
("  Listen  to  this  Music  "),  leading  up  to  a  dance  ; 
a  vivacious  and  well- written  quintette,  "  Matamoras, 
grand  capitaine "   ("Matamoras,  our  Great  Cap- 


LA   FILLE  DE   MADAME   ANGOT.       109 

tain");  a  fascinating  drinking-song,  "  Le  Punch 
scintille"  ("This  Flaming  Bowl"),  and  the  an- 
dante duet  "  O  Girofle',  O  Girofla,"  a  smooth,  ten- 
der melody,  which  is  in  striking  contrast  with  the 
drinking-music  preceding  it  and,  that  which  imme- 
diately follows  the  chorus  of  the  half-tipsy  wedding- 
guests,  "  C'^st  le  canon"  ("It  is  the  Cannon")  : 
and  the  rondo,  "  Beau  pere  une  telle  demand  " 
("Oh,  my  Father,  now  you  ask"),  sung  by  Ma- 
rasquin,  and  the  duet  for  Mourzook  and  Girofle, 
"Ma  belle  Girofld  "  ("My  Lovely  Girofle "),  in 
the  third  act. 

La  f  illc  tic  JHaliame  ^Incjot. 

[Opera  bouffe,  in  three  acts ;  text  by  Clairville,  Sirandin,  and 
Konig.  First  produced  at  the  Fantasies  Parisiennes,  Brussels, 
November,   1872;  in  Paris  at  the  Folies  Dramatiques,  February 

PERSONAGES. 

Clairette  Angot,  daughter  of  the  Javotte. 

market.  Amaranthe. 

Mlle.  Lange,  comedienne.  Cydalise. 

Ange  Pitou,  street  singer.  Hersilie. 

PoMPONNET,  hairdresser.  Babet. 

LARIVAUDliRE,       I  p^jj^^  o^ZXZ^^S.  TrENITZ. 

LOUCHARD,  ) 

[Bourgeois,  grenadiers,  conspirators,  hussars,  servants, 
marketwomen,  etc.] 

The  scene  is  laid  in  Paris ;  time,  about  the  period  of  the 
French  Revolution. 

The  first  act  opens  in  a  market  square  in  Paris 
where   the  marketwomen   and    others    in   holiday 


no   THE  STANDARD   LIGHT  OPERAS. 

costume  are  making  ready  to  celebrate  the  wed- 
ding of  Pomponnet,  the  hairdresser,  and  Clairette, 
the  daughter  of  the  late  Madame  Angot.  During 
the  festive  preparations,  for  which  Clairette  has 
little  desire,  as  her  affections  are  fixed  upon  Ange 
Pitou,  a  street  singer,  who  is  continually  in  trouble 
by  reason  of  his  political  songs,  the  latter  makes 
his  appearance.  He  is  informed  of  the  forth- 
coming wedding,  which  has  been  arranged  by  the 
market  people,  who  have  adopted  Clairette  as 
the  child  of  the  market.  At  the  same  time  Larivau- 
di^re  and  Louchard,  the  police  officials  who  caused 
his  arrest  because  of  his  knowledge  of  the  relations 
of  Larivaudiere  and  Mademoiselle  Lange,  the  co- 
medienne and  favorite  of  Barras,  are  surprised  to 
find  him  at  large.  To  prevent  him  from  reciting 
his  knowledge  in  a  song  which  he  is  sure  has  been 
written,  Larivaudiere  buys  him  off.  Pitou  subse- 
quently regrets  his  bargain.  When  the  crowd 
clamors  for  a  song,  he  says  he  has  none.  The 
people  are  furious  with  him,  but  Clairette  comes 
to  his  rescue.  She  has  found  the  song  denouncing 
Larivaudiere,  sings  it,  and  is  arrested,  notwithstand- 
ing Pitou's  declaration  that  he  is  the  author  of  it. 

The  second  act  opens  in  Mademoiselle  Lange's 
salon.  She  has  persuaded  Barras  to  release  Clai- 
rette and  have  her  brought  to  her  apartments,  so 
that  she  may  discover  why  she  sings  this  song 
denouncing  the  government  and  insulting  her  also. 
In  the  mean  time  she  has  also  sent  for  Pompon- 
net,  her  hairdresser,  and   informs  him   what   his 


LA   FILLE  DE   MADAME  ANGOT.       HI 

future  wife  has  done.  He  replies  that  Pitou  wrote 
the  song,  and  that  he  (Pomponnet)  has  it.  She 
orders  him  to  fetch  it  to  her.  When  Clairette 
arrives  they  recognize  each  other  as  old  school 
friends.  Mademoiselle  Lange  assures  her  she  shall 
not  go  back  to  prison  and  that  she  need  not  marry 
Pomponnet.  She  retires  to  Mademoiselle  Lange's 
boudoir,  when  a  visitor  is  announced.  It  is  Ange 
Pitou,  and  a  love  scene  at  once  occurs.  The 
jealous  Larivaudiere  enters  and  accuses  them  of 
being  lovers.  To  justify  herself  Mademoiselle 
Lange  declares  that  Pitou  and  Clairette  are  lovers, 
and  the  latter  confirms  the  statement.  Pompon- 
net's  voice  is  heard  in  the  outer  room.  He  is 
admitted,  and  promptly  arrested  for  having  the 
revolutionary  song  on  his  person.  The  act  closes 
with  a  meeting  of  conspirators,  and  Mademoiselle 
Lange's  clever  oiling  of  the  grenadiers  who  have 
come  to  arrest  them  by  turning  the  whole  affair  into 
a  grand  ball,  to  which  they  are  invited. 

The  last  act  is  occupied  with  plots  and  counter- 
plots which  at  last  succeed  in  disentangling  all  the 
complications.  Mademoiselle  Lange's  perfidy,  as 
well  as  Pitou's,  is  shown  up,  Larivaudiere  has  his 
revenge,  and  Clairette  and  Pomponnet  are  made 
happy. 

The  music  of  the  opera  is  so  bright,  gay,  and 
characteristic  that  it  made  Lecocq  a  dangerous 
rival  of  Offenbach.  The  most  conspicuous  num- 
bers are  Clairette's  pretty  romance,  *'  L'enfant  de 
la  Halle  "    (''The  Child  of  the  Market")  ;  Ama- 


113        THE  STANDARD  LIGHT  OPERAS. 

ranthe's  jolly  couplets,  "  Marchande  de  mar^e  " 
("  A  Beautiful  Fishwoman")  ;  Ange  Pitou's  rondo, 
"  Certainement  j'aimais  Clairette  "  ("  'T  is  true  I 
loved  Clairette ")  and  Clairette's  spirited  song, 
"  Jadis  les  rois,  race  proscrite  "  ("Once  Kings,  a 
Race  proscribed  ") ,  in  the  first  act :  another  equally 
spirited  song,  "  Comme  un  Coursier "  ("  Like  a 
Courser");  Pomponnet's  pretty  air,  "  Elle  est 
tenement  innocente  "  ("She  is  so  innocent")  ;  a 
charming  sentimental  duet  for  Mademoiselle  Lange 
and  Clairette,  "  Jours  fortunes  de  notre  enfance  " 
("  Happy  Days  of  Childhood  ")  ;  a  striking  en- 
semble in  the  form  of  a  quintette,  "  Oui,  je  vous  le 
dis,  c'est  pour  elle  "  ("Yes,  'tis  on  her  Account 
alone ") ;  and  the  famous  conspirators'  chorus, 
"  Quand  on  conspire  "  ("  When  one  conspires  "), 
in  the  second  act :  and  Clairette's  couplets  with 
chorus,  "Vous  aviez  fait  de  la  d^pense  "  ("You 
put  yourselves  to  Great  Expense  ")  ;  the  humorous 
duet,  "  Larivaudiere  and  Pomponnet,"  and  Clai- 
rette's song,  "Ah!  c'est  done  toi  "  ("Ah!  'tis 
you,  then  "),  in  the  last  act. 


LORTZING,     ALBERT. 
C^ar  anK  Carpenter, 

[Op^ra  comique,  in  three  acts ;  text  and  music  by  Lortzing. 
First  produced  in  Berlin  in  1854.] 

PERSONAGES. 
Peter   I.,   Czar  of    Russia  under    the    name   of    Peter 

MiCHAELHOFF. 

Peter  Ivanoff,  a  young  Russian  shipwright. 

Herr  van  Bett,  burgomaster  of  Saardam. 

Gen.  Lefort,  Russian  ambassador. 

Lord  Syndham,  British  ambassador. 

Marquis  of  Chateauneuf,  French  ambassador. 

Marie,  niece  of  the  burgomaster. 

Widow  Brown,  mistress  of  the  shipyard. 

[Shipwrights,  workmen,  sailors,  villagers,  etc.] 
The  scene  is  laid  in  $aardara ;  time,  the  year  1698. 

THE  opening  of  the  first  act  of  the  *'  Czar 
and  Carpenter "  discloses  Peter  the  Great 
and  Peter  Ivanoff,  a  deserter  from  the  Russian 
army,  at  work  in  the  shipyard  of  Mrs.  Brown  in 
Saardam.  The  British  and  French  ambassadors, 
having  been  notified  that  the  Czar  is  there  in  dis- 
guise, are  searching  for  him  with  the  object  of 
negotiating  a  treaty  with  him,  or,  failing  that,  to 
abduct  him.  The  British  ambassador  employs 
the  pompous  burgomaster  of  Saardam  to  find 
8 


114        THE  STANDARD   LIGHT  OPERAS. 

him  a  Russian  named  Peter,  without  however  dis- 
closing his  real  character  to  him.  The  burgo- 
master happens  upon  Peter  Ivanoff  and  brings 
him  to  the  ambassador,  who,  supposing  him  to 
be  the  Czar,  seeks  to  arrange  a  treaty  with  him, 
and  finally  gives  him  a  passport  so  that  he  may 
visit  Enghind.  Meanwhile  the  people  of  Saardam, 
being  informed  that  the  Czar  is  with  them,  prepare 
a  reception  for  him. 

The  French  ambassador,  who  has  also  been 
searching  for  the  Czar,  finds  the  real  one  by  tell- 
ing him  the  story  of  a  Russian  defeat  which  causes 
him  to  betray  himself.  The  Czar,  who  is  now 
anxious  to  go  home  and  crush  out  the  rebellion, 
seeks  for  some  means  to  get  away  without  the 
knowledge  of  the  Dutch  and  the  English.  Find- 
ing out  by  chance  that  Ivanoff  has  an  English 
passport,  he  secures  it,  and  gives  Ivanoff  another 
paper  which  he  is  not  to  open  until  an  hour  has 
passed.  During  this  time  Ivanoff  is  enjoying  the 
public  reception,  which  suddenly  is  interrupted  by 
cannon  reports.  The  gateway  of  the  port  is 
opened,  showing  the  Czar  with  the  Russian  and 
French  ambassadors  sailing  away.  Ivanoff  opens 
his  paper,  and  finds  that  his  companion  was  the 
Czar,  who  has  given  him  a  good  situation  as  well  as 
his  consent  to  his  marriage  with  Marie,  the  burgo- 
master's niece. 

The  leading  numbers  of  the  first  act  are  the 
carpenter's  spirited  song,  "  Grip  your  Axes " ; 
Marie's  jealousy   song,   *'  Ah  !    Jealousy   is   a  Bad 


CZAR  AND    CARPENTER.  115 

Companion " ;  the  humorous  aria  of  Van  Bctt, 
"  Oh  !  sancta  Justitia,  I  shall  go  raving "  ;  the 
long  duet  for  Van  Bett  and  Ivanoff,  "  Shall  I  make 
a  Full  Confession?"  and  the  effective  quartettes 
in  the  finale.  The  second  act  contains  the  best 
music  of  the  opera.  It  opens  with  a  mixed  chorus 
of  a  bacchanalian  sort,  "  Long  live  Joy  and  Pleas- 
ure," which  after  a  long  dialogue  is  followed  by 
the  tenor  romanza,  **  Fare  thee  well,  my  Flandrish 
Maiden,"  a  quaint  melody,  running  at  the  end  of 
each  stanza  into  a  duet,  closing  with  full  chorus 
accompaniment.  A  sextette,  "The  Work  that 
we  're  beginning,"  immediately  follows,  which, 
though  brief,  is  the  most  effective  number  in 
the  opera.  The  next  number  of  any  conse- 
quence in  this  act,  is  a  rollicking  bridal  song, 
"Charming  Maiden,  why  do  Blushes,"  sung  by 
Marie.  The  last  act  has  a  comic  aria  and  chorus, 
"To  greet  our  Hero  with  a  Stately  Reception," 
and  an  eifective  song  for  the  Czar,  "In  Child- 
hood, with  Crown  and  with  Sceptre  I  played." 


LUDERS,  GUSTAVE. 

[A  musical  comedy,  in  three  acts  ;  text  by  Pixley.     First  pro- 
duced at  the  Studebaker  Theatre,   Chicago,   May  27,  1901.] 

PERSONAGES. 

Kino  Dodo  I. 
Pedro,  Court  chamberlain. 
Dr.  Fizz,  Court  physician. 
MUDGE,  Court  historian. 
Sancho,  an  innkeeper. 
BoNiLLA,  prime  minister  to  Queen  Lili. 
Lo  Baswood. 
Lopez. 
Diego. 
Jos^, 
Unio. 

Queen  Lili. 

Angela,  the  King's  ward. 
PiOLA,  a  soldier  of  fortune. 
Annette. 
[Courtiers,  knights,  ladies,  etc.] 

The   scene    is    laid  in  Dodoland  and  the  South    Sea  islands  ; 
time,  the  present. 

KING  DODO,"  though  usually  set  down  on 
the  programmes  as  a  comic  opera,  strictly 
speaking,  is  a  musical  comedy,  or  comedy  opera. 
Its  plot  turns  upon  the  efforts  of  King   Dodo  to 


KING  DODO.  117 

find  the  elixir  of  youth.  His  adventures  carry 
him  from  his  own  kingdom  in  the  land  of  no- 
where in  particular  to  the  South  Sea  islands  and 
back,  a  few  absurd  love  episodes  adding  to  the 
humor  of  the  situations  in  which  he  finds  himself. 
The  old  King  is  enamoured  of  the  Princess  Angela, 
and  to  secure  her  he  determines  to  find  the 
fountain  which  will  renew  his  youth.  His  Court 
physician  has  failed  in  the  attempt ;  but  Piola,  "  a 
soldier  of  fortune,"  claims  to  know  where  the 
fountain  is,  but  demands  that  when  he  finds  it  he 
shall  have  the  hand  of  Angela  as  his  reward.  The 
King  reluctantly  consents,  and  starts  with  his  whole 
establishment  to  find  it.  The  wonderful  spring  is 
discovered  in  the  land  of  the  Spoopjus,  and  there 
King  Dodo  also  finds  Queen  Lili,  who  promptly 
falls  in  love  with  him,  because  her  ideal  for  a 
husband  is  a  man  full  of  years  and  experience. 
The  King,  however,  accidentally  drinks  from  the 
fountain,  and  is  transformed  into  a  child,  whereupon 
the  Queen  rejects  him.  As  the  waters  fortunately 
work  both  ways,  when  Dodo  is  thrown  into  them 
by  conspirators,  he  becomes  himself  again,  and  the 
Queen  devotes  herself  to  him  anew  with  such 
assiduity  that  they  are  united.  Pedro  and 
Annette  and  Piola  and  Angela  also  improve  the 
occasion  to  get  married,  and  all  return  in  great 
glee  to  Dodoland. 

The  musical  numbers  in  "  King  Dodo,"  are  all 
of  a  light,  catchy  kind,  their  success  depending 
much   upon  the  sprightliness  of  the   performers. 


Ii8       THE  STANDARD   LIGHT  OPERAS. 

The  most  popular  are  the  "  Cats'  Quartette " ; 
*'  The  Tale  of  the  Bumble-bee " ;  Piola's  song, 
"  I  '11  do  or  die,"  which  is  accompanied  by  a 
stirring  chorus;  the  melodious  "Zamoiia,"  sung 
by  Angela  and  chorus ;  a  drinking-song  of  a 
spirited  sort  by  Annette  and  chorus ;  "  The 
Eminent  Dr.  Fizz,"  sung  by  the  doctor  himself; 
and  **The  Jolly  old  Potentate"  and  the  topical 
song,  "  They  gave  me  a  Medal  for  that,"  sung  by 
King  Dodo. 

d;e  prince  of  Pilscn. 

[A  musical  comedy,  in  two  acts  ;  text  by  Pixley.  First  produced 
in  the  Tremont  Theatre,  Boston,  May  21,  1902.] 

PERSONAGES. 

Carl  Otto,  the  Prince. 

Hans  Wagner,  an  American  citizen. 

Tom  Wagner,  his  son. 

Arthur  St.  John  Wilberforce. 

Francois. 

Mrs.  Madison  Crocker,  an  American  widow. 

SiDONIE. 

Edith. 

Nellie. 

Jimmy. 
[Tourists,  students,  flower-girls,  sailors,  etc.] 
The  scene  is  laid  in  Nice  ;  time,  the  present. 

"The  Prince  of  Pilsen,"  the  latest,  and  in  many 
respects  the  best,  of  Mr.  Luders'  productions,  like 
most  musical  comedies  of  the  prevailing  kind,  has 
but  a  brief  and  somewhat  incongruous  story.     The 


THE  PRINCE   OF  PILSEN.  119 

first  act  opens  during  the  annual  flower  festival  at 
Nice.  The  proprietor  of  the  Hotel  Internationale 
learns  that  the  Prince  of  Pilsen  will  reach  there  on 
the  morrow  incognito,  and  determines  he  shall  be 
received  with  all  the  attentions  due  to  his  rank. 
He  employs  a  band  of  musicians  to  escort  him 
from  the  station  to  the  hotel,  and  hires  flower-girls 
to  strew  his  way  with  roses.  Hans  Wagner,  a 
German-American  brewer  from  Cincinnati,  and 
his  daughter,  who  go  to  Nice  to  meet  the  brewer's 
son,  an  American  naval  officer,  arrive  on  the  same 
day.  The  brewer  is  mistaken  for  the  Prince,  and 
he  and  his  party  meet  with  a  brilliant  but  some- 
what surprising  reception.  He  can  account  for  it 
in  no  other  way  than  that  his  greeting  as  the  Prince 
of  Pilsen  is  a  tribute  to  the  excellence  of  his  Pilsener 
beer,  and  accepts  it  complaisantly.  When  the  real 
prince  arrives,  however,  with  a  company  of  Heidel- 
berg students,  he  is  ignored,  and  even  has  some  dif- 
ficulty in  securing  accommodations.  The  Prince, 
however,  does  not  declare  his  identity  at  once, 
but  waits  for  an  opportunity  to  expose  the  impostor 
who  is  trading  on  his  name.  He  accidentally  meets 
the  daughter,  and  after  some  conversation  with  her 
is  sure  that  her  father  has  not  intended  to  deceive 
and  is  not  responsible  for  the  mistake.  He  de- 
cides therefore  to  continue  the  role  of  private 
citizen,  and  is  the  more  confirmed  in  his  decision 
when  he  finds  himself  falling  in  love  with  the 
brewer's  daughter.  This  enrages  the  brother,  who 
challenges  the  Prince,  which  leads  to  the  arrest  of 


I20  THE  STANDARD  LIGHT  OPERAS. 

both  of  them.  In  the  second  act  all  the  com- 
plications get  straightened  out.  The  real  Prince 
marries  the  brewer's  daughter,  and  the  brewer  him- 
self takes  home  the  American  widow,  Mrs.  Madison 
Crocker,  as  his  wife. 

On  this  somewhat  slight  thread  of  a  plot  the 
composer  has  strung  numerous  bits  of  lively,  ex- 
hilarating music,  some  of  it  of  a  decidedly  better 
kind  than  is  usually  found  in  these  potpourris, 
but  the  most  of  it  of  the  sort  which  is  popular 
and  easily  caught  up.  The  number  of  the  lyrics 
as  well  as  of  the  topical  songs,  choruses,  and  ex- 
travaganzas is  so  large,  and  they  are  of  such 
uniformity  in  interest  and  tunefulness,  that  it  is 
difficult  to  single  out  the  most  conspicuous.  The 
numbers,  however,  which  have  made  the  greatest 
success  are  Wagner's  topical  song,  "  He  did  n't 
know  exactly  what  to  do";  a  charming  smoking- 
song,  "  Pictures  in  the  Smoke  "  ;  the  "Tale  of  the 
Sea-shell " ;  the  unaccompanied  male  chorus, 
"  Oh !  Heidelberg,  dear  Heidelberg,"  which 
should  be  a  favorite  students'  song  ;  and  the  "  Song 
of  the  Cities,"  in  which  the  peculiarities  of  the 
girls  of  various  American  cities  are  imitated,  the 
song  ending  with  a  droll  cake  walk.  So  far  as 
numbers  go,  indeed,  the  opera  presents  a  bewilder- 
ing embarrassment  of  good  things. 


MASSE,   VICTOR. 
Paul  anU  ©irffinia. 

[Romantic  opera,  in  three  acts  and  seven  tableaux ;  text  by 
Carr6  and  Barbier.  First  produced  at  the  Op6ra  National  Ly- 
rique,  Paris,  November  15,  1876  ;  in  London,  June  i,  187S  ;  in 
New  York,  March  28,  1883.] 

PERSONAGES. 

Paul. 

St.  Croix,  slave-master. 
Domingo,  mulatto  slave. 

M.  DE  LA  BouRDONNAis,  govcmor  of  the  island. 
Negro  Slave. 
Virginia. 

Meala,  mulatto  slave. 
Mme.  de  la  Tour,  mother  of  Virginia. 
Margaret,  mother  of  Paul. 
Overseer. 

Old  Lady,  grand-aunt  of  Virginia. 
[Inhabitants  of  the  island,  sailors,  slaves,  etc.] 

The  scene  is  laid  upon  an  island  on  the  African  coast ;  time, 
the  eighteenth  century. 

THE  story  of  ''  Paul  and  Virginia,"  Masse's 
masterpiece,  follows  the  lines  of  Bernar- 
din  St.  Pierre's  beautiful  romance  of  the  same 
name.  The  first  act  opens  with  the  recital  of 
the  history  of  Madame  de  la  Tour,  mother  of 
Virginia,  and  Margaret,  the    mother  of  Paul,  and 


122        THE   STANDARD   LIGHT  OPERAS. 

reveals  the  love  of  the  two  children  for  each 
other.  While  they  are  discussing  the  advis- 
ability of  sending  Paul  to  India  for  a  time, 
against  which  his  slave  Domingo  piteously  pro- 
tests, islanders  come  rushing  towards  the  cabin 
announcing  the  arrival  of  a  vessel  from  France. 
In  hopes  that  she  will  have  a  letter  announcing 
that  she  has  been  forgiven  by  the  relatives  who 
have  renounced  her,  Madame  de  la  Tour  goes 
to  the  port.  A  love  scene  between  the  children 
follows,  which  is  interrupted  by  the  hurried  en- 
trance of  the  slave  Meala,  who  is  flying  from 
punishment  by  her  master,  St.  Croix.  The  two 
offer  to  go  back  with  her  and  to  intercede  for 
her  forgiveness,  in  which  they  are  successful.  St. 
Croix,  who  has  designs  upon  Virginia,  begs  them 
to  remain  until  night ;  but  Meala  warns  them  of 
their  danger  in  a  song,  and  they  leave  while  St. 
Croix  wreaks  his  revenge  upon  Meala. 

The  second  act  opens  in  the  home  of  Madame 
de  la  Tour.  She  has  had  a  letter  from  her  aunt 
forgiving  her,  making  Virginia  her  heiress  if  she 
will  come  to  France,  and  sending  money  for  the 
journey.  After  a  long  struggle  between  duty  to 
her  mother  and  love  for  Paul,  she  declines  to  go. 
Meala  makes  them  another  hurried  call,  again 
flying  from  St.  Croix,  who  this  time  is  pursuing 
her  with  a  twofold  purpose,  first,  of  punishing 
Meala  and,  second,  of  carrying  out  his  base  designs 
against  Virginia.  He  soon  appears  at  the  house 
and  demands  his  slave,  but  Paul  refuses  to  give 


PAUL   AND    VIRGINIA.  123 

her  up.  At  last  St.  Croix  offers  to  sell  her  to  Paul, 
and  Virginia  furnishes  the  money.  The  faith- 
ful Meala  that  night  informs  them  of  St.  Croix's 
plot  to  seize  Virginia  when  she  goes  to  the  vessel ; 
but  he  is  foiled,  as  she  does  not  leave.  The  act 
closes  with  a  call  from  the  governor  of  the  island, 
who  bears  express  orders  from  Virginia's  relatives, 
signed  by  the  King,  that  she  must  go  to  France. 

The  last  act  is  brief,  and  relates  the  tragedy.  It 
opens  at  a  grotto  on  the  seashore,  where  the 
melancholy  Paul  has  waited  and  watched  week  by 
week  for  the  vessel  which  will  bring  Virginia  back 
to  him.  At  last  it  is  sighted,  but  a  storm  comes 
up  and  soon  develops  into  a  hurricane,  and  when 
it  subsides  the  vessel  is  a  wreck,  and  Virginia  is 
found  dead  upon  the  beach. 

The  opera  is  replete  with  beautiful  melodies. 
There  are,  in  the  first  act,  a  characteristic  minor 
song  for  Domingo,  ^'Ah!  do  not  send  my  Dear 
Young  Master,"  which  the  composer  evidently  in- 
tended to  be  in  the  Ethiopian  manner ;  a  chanson 
of  the  genuine  French  style,  "Ah  !  Hapless  Black," 
though  sung  by  a  negro  boy ;  a  lonely  and  ex- 
pressive melody  sung  by  Virginia,  as  she  pleads 
with  St.  Croix,  "  What  I  would  say  my  Tongue 
forgetteth";  the  weird  Bamboula  chorus,  sung 
by  the  slaves ;  and  a  very  dramatic  aria  for  Meala, 
"  'Neath  the  Vines  Entwining,"  in  which  she 
warns  the  children  of  their  danger.  The  princi- 
pal numbers  in  the  second  act  are  Virginia's  ro- 
mance,  *'  As  Last   Night   thro'    the   Woods " ;    a 


124        THE  STANDARD  LIGHT  OPERAS. 

beautiful  chanson  for  Domingo,  "  The  Bird  flies 
yonder";  Paul's  couplets,  "Ah!  crush  not  my 
Courage  "  ;  the  passionate  duet  for  Paul  and  Vir- 
ginia, "  Ah  !  since  thou  wilt  go,"  closing  in  unison  ; 
and  Virginia's  florid  aria,  "  Ah,  what  Entrancing 
Calm,"  the  cadenza  of  which  is  exceedingly 
brilliant.  The  best  numbers  in  the  short  last 
act  are  Meala's  song,  ''  In  vain  on  this  Dis- 
tant Shore  "  ;  Paul's  letter  song,  "Dearest  Mother  "  ; 
and  the  vision  and  storm  music  at  the  close. 


[Opdra  comique,  in  three  acts;  text  by  Lockroy  and  Battu. 
First  produced  at  the  Theatre  Lyrique,  Paris,  December  27, 
1856.] 

PERSONAGES. 

La  Reine  Topaze. 

Le  Capitaine  Rafael. 

Annibal. 

Francappa. 

Fritellino. 

FiLOMiLE. 

[Gypsies,  soldiers,  etc.] 

The  scene  is  laid  in  France;  time,  last  century. 

"  Queen  Topaze  "  ("  La  Reine  Topaze  ")  is  one 
of  the  few  of  Mass^'s  earlier  works  which  have 
held  the  boards,  mainly  on  account  of  its  charm- 
ing melodiousness.  The  role  of  the  Queen  was  a 
great  favorite  with  Miolan-Carvalho  and  Parepa- 
Rosa,  as  it  offers  opportunities    for  brilliant  vocal 


QUEEN  TOPAZE.  1 25 

execution.  Its  story  is  of  the  slightest  kind.  In 
her  infancy  Topaze  is  stolen  by  a  band  of  gypsies 
and  eventually  becomes  their  queen.  She  falls  in 
love  with  Rafael,  a  captain  whom  she  wins  from 
his  affianced,  a  rich  noblewoman.  He  does  not 
marry  her,  however,  until  she  discloses  to  him  the 
secret  of  her  birth.  Some  byplay  among  the 
gypsies  supplies  the  humor  of  the  situations.  As 
to  the  text  it  is  far  from  dramatic  in  character,  and 
the  dialogue  is  tedious  and  dragging. 

The  music,  however,  is  excellent,  and  it  was  to 
this  feature  that  Mass^  owed  his  election  in  the 
year  of  its  production  as  Auber's  successor  in  the 
French  Academy.  The  gypsy  music  is  particu- 
larly charming.  There  are  also  a  clever  sextette, 
"  We  are  six  noblemen  "  —  indeed,  there  is  an  un- 
usual amount  of  six  and  seven  part  writing  in  the 
opera;  the  "Song  of  the  Bee,"  a  dehghtful  melody 
for  Queen  Topaze  with  a  particularly  characteristic 
accompaniment,  likewise  a  brilliant  bolero ;  a 
lovely  romance  in  the  last  act  for  Rafael,  and  a 
somewhat  dramatic  narrative  song  for  him  in  the 
first  act ;  and  a  skilfully  constructed  trio  for  Anni- 
bal  and  the  two  gypsies.  The  remaining  number 
of  importance  is  an  interpolated  one,  — "  The 
Carnival  of  Venice,"  with  the  Paganini  variations, 
which  was  first  introduced  by  Miolan-Carvalho, 
the   creator  of  the  title  role. 


126       THE  STANDARD  LIGHT  OPERAS. 


Cbc  f^^xxn^t  of  3feannctte. 

[Opdra  comique,  in  one  act ;  text  by  Carr6  and  Barbi^re.  First 
produced  at  the  Opera  Comique,  Paris,  February  4,  1S53;  in  New 
York,  in  1S61.] 

PERSONAGES. 

Jean. 

Jeannette. 
Thomas. 
Petit  Pierre. 
[Chorus  of  peasants.] 

The  scene  is  laid  in  a  French  country  village;  time,  the  last 
century. 

Nothing  could  be  simpler  than  the  story  of 
Mass^'s  little  opera,  *'  Les  Noces  de  Jeannette  " 
("The  Marriage  of  Jeannette"),  which  was  first 
given  in  this  country  in  1861,  with  Clara  Louise 
Kellogg  and  M.  Dubreul  in  the  two  principal  parts, 
and  twenty-five  years  later  was  a  favorite  in  the 
repertory  of  the  American  Opera  Company,  under 
the  direction  of  Theodore  Thomas,  who  produced 
it  as  an  after  piece  to  Delibes'  two-act  ballet, 
"Sylvia."  The  story  concerns  only  two  persons. 
Jean,  a  boorish  rustic,  falls  in  love  with  Jeannette 
and  proposes  marriage.  On  the  wedding-day, 
however,  he  suddenly  changes  his  mind,  and  just 
as  the  notary  hands  him  the  pen  to  sign  the  con- 
tract, takes  to  his  heels  and  runs  home.  Jeannette 
follows  him  up  to  demand  an  explanation,  and  pre- 
tends that  she  will  not  force  him  to  marry  her.     In 


THE  MARRIAGE   OF  JEANNETTE.     127 

lieu  of  that  she  asks  him  to  sign  another  contract 
from  which  she  will  withhold  her  name  just  to 
show  that  he  was  willing  to  do  so.  She  further- 
more promises  publicly  to  reject  him.  AVhen  he 
has  signed  the  new  contract,  she  suddenly  changes 
her  mind  also,  and  declares  they  are  man  and  wife. 
In  his  fury  Jean  breaks  up  nearly  everything  in  the 
house  before  he  goes  to  sleep.  The  next  day  in 
his  absence  Jeannette  provides  new  furniture  from 
her  own  store,  places  things  to  rights  again,  sets 
the  dinner,  and  awaits  Jean's  return.  When  he 
comes  back  again,  he  is  in  more  tractable  mood, 
and  seeing  what  Jeannette  has  done  acknowledges 
her  as  his  wife. 

This  simple  story  the  composer  has  framed  in  a 
dainty  musical  setting,  the  principal  numbers  being 
the  song  "  Others  may  hastily  marry,"  sung  by 
Jean  after  his  escapade  ;  Jeannette's  pretty,  simple 
melody,  ''  From  out  a  Throng  of  Lovers  "  ;  Jean's 
vigorous  and  defiant  "  Ah  !  little  do  you  fancy  "  ; 
the  graceful  song  by  Jeannette,  "  Fly  now,  my 
Needle,  glancing  brightly  "  ;  her  brilliant  and  ex- 
ultant song,  "Voice  that's  sweetest";  and  the 
spirited  unison  male  chorus,  "  Ring  out.  Village 
Bells,"  that  closes  this  refined  and  beautiful  work. 


MILLOCKER,    CARL. 

[Op^ra  comique,  in  three  acts  ;  fir^t  produced  in  Vienna,  1882.] 
PERSONAGES. 

Symon  Symonovicz,  the  beggar  student. 

Janitsky,  his  friend. 

Gen.  Ollendorf,  military  governor  of  Krakow. 

Enterich,  )  .  ., 

jailers. 


PUFFKI, 

Major  Holtzheim. 
SiTZKY,  an  innkeeper. 
Countess  Palmatica 
Laura. 


_.  -  her  daughters. 

Bronislava,  ) 

Eva. 

Ononphrie. 
Lieut.  Poppenburg. 
Lieut.  Schmeinitz. 
Lieut.  Wangerheim. 
Burgomaster. 

BOGUMIL. 

[Prisoners,  peasants,  soldiers,  musicians,  courtiers,  etc.] 
The  scene  is  laid  in  Krakow  ;  time,  the  year  1704. 

THE  first  act  of  this  tuneful  opera  opens  in 
the  city  of  Krakow.  General  Ollendorf, 
the  military  governor,  is  in  a  rage  because  he 
has    been    repulsed    by    Laura,    daughter    of    the 


THE  BEGGAR  STUDENT.  129 

Countess  Palmatica,  to  whom  he  has  showed 
some  unwelcome  attentions.  To  avenge  what 
he  considers  an  insult,  he  conceives  the  idea 
of  dressing  some  poor  and  low-born  young 
fellow  in  the  finery  of  a  prince,  and  passing  him 
off  as  such  upon  the  Countess  and  her  daughter, 
trusting  that  their  poverty  will  induce  them  to 
accept  the  impostor.  After  such  a  marriage  his 
revenge  would  be  complete.  He  finds  his  accom- 
plice in  the  military  prison.  Symon  Symonovicz,  a 
vagabond  Polish  student,  is  ready  to  play  the 
gentleman,  and  only  insists  on  taking  along  with 
him  Janitsky,  a  fellow  prisoner,  to  act  as  his 
secretary.  The  plot  is  successful.  The  Countess 
and  her  daughter,  who  have  been  living  for  a  long 
time  in  genteel  poverty,  are  dazzled  by  the  finery 
and  prospects  of  the  suitor,  and  the  act  closes  with 
the  betrothal  of  Symon  and  Laura. 

In  the  second  act  the  two  find  that  they  are 
really  in  love  with  each  other.  As  the  money 
furnished  by  the  General  is  all  spent,  Symon  de- 
cides to  tell  Laura  of  the  deception  practised  upon 
her,  though  it  may  cost  him  the  marriage,  which 
was  to  have  taken  place  that  day.  Afraid  to  tell 
her  in  person,  he  writes  the  disclosure,  and  intrusts 
the  letter  to  the  Countess  with  the  request  to  have 
it  given  to  Laura  before  the  ceremony.  The 
General,  however,  thwarts  this  scheme,  and  the 
pair  are  married,  whereupon  he  exposes  Symon 
to  the  assembled  guests  as  an  impostor  and  has 
him  driven  from  the  palace. 
9 


130        THE   STANDARD  LIGHT  OPERAS. 

At  the  opening  of  the  third  act  Symon  appears 
in  melancholy  plight  and  contemplating  suicide. 
His  friend  Janitsky,  who  is  in  love  with  Laura's 
sister,  Bronislava,  comes  to  his  rescue.  He  comes 
forward  as  a  Polish  officer  engaged  in  a  plot  for 
the  capture  of  the  citadel  and  the  reinstatement 
of  King  Stanislaus  upon  the  throne  of  Poland. 
The  plot  with  Symon's  help  succeeds,  and  in  re- 
turn Symon  is  not  only  ennobled,  but  the  Countess 
and  his  wife  forgive  him,  and  the  governor- general 
is  foiled  at  every  point. 

The  principal  numbers  are  Ollendorf's  entrance 
song  in  waltz  time,  "  And  they  say  that  towards 
Ladies  " ;  the  characteristic  duet  by  Symon  and 
Janitsky  ^n  leaving  jail,  "  Confounded  Cell,  at  last 
I  leave  thee  "  ;  the  charming  entrance  trio  for  Laura, 
Bronislava,  and  the  Countess,  "  Some  little  Shopping 
really  we  ought  to  do  "  ;  and  Laura's  brilliant  song, 
"  But  when  the  Song  is  sweetly  sounding,"  in  the 
finale  of  the  first  act :  Laura's  humorous  song,  "  If 
Joy  in  Married  Life  you  'd  find  "  ;  the  sentimental 
duet  of  Bronislava  and  Janitsky,  "  This  Kiss,  Sweet 
Love  "  ;  Ollendorf's  grotesque  songs,  *'  One  Day  I 
was  perambulating,"  and  "  There  in  the  Chamber 
Polish,"  which  is  usually  adapted  as  a  topical  song; 
and  the  long  and  cleverly  concerted  finale  of  the 
second  act :  and  Bronislava's  song,  "  Prince  a 
Beggar  's  said  to  be/'  and  Symon's  couplet,  "  I  'm 
penniless  and  outlawed  too,"  in  the  third  act. 


THE  BLACK  HUSSAR.  131 

(ITIjc  ^laclt  |)ttfi;fi(ar. 

[Opera  comique,  in  three  acts.     First  produced  at  Vienna,  1886.] 

PERSONAGES. 

Helbert,  officer  of  the  Black  Hussars. 
Waldermann,  his  companion. 
Hackenback,  magistrate  of  Trautenfeld. 
PiFFKOW,  his  man  of  all  work. 
THORiLLifeRE,  major  in  Napoleon's  army. 
Hetman,  captain  of  the  Cossacks. 
Mifflin,  an  actor. 

Rosetta,  I  Hackenbach's  daughters. 
Barbara. 
Ricci. 

Goddess  of  Liberty. 
Germania, 
[Soldiers,  peasants,  villagers,  conspirators,  etc.] 

The  scene  is  laid  in  the  German  village  of  Trautenfeld  ;  time, 
the  years  1812-13. 

The  Story  of  "  The  Black  Hussar "  is  simple. 
Von  Helbert,  an  officer  of  the  Black  Hussars,  in  the 
disguise  of  an  army  chaplain,  is  seeking  to  foment 
an  insurrection  in  the  town  of  Trautenfeld.  Hack- 
enback, the  town  magistrate,  has  carried  himself 
so  diplomatically,  as  between  the  Russians  and 
French,  and  is  so  opposed  to  any  rupture  with 
either  from  fear  of  sudden  visitation,  that  Von 
Helbert's  efforts  to  induce  his  townsmen  to  rise 
against  the  Napoleonic  regime  are  not  altogether 


132        THE  STANDARD  LIGHT  OPERAS. 

successful.  The  French  in  the  mean  time  are  hunt- 
ing for  him,  but  he  cunningly  succeeds  in  getting  a 
description  of  the  magistrate  posted  for  that  of 
himself.  To  be  ready  for  any  sudden  emergency, 
Hackenback  has  a  reversible  panel  on  his  house, 
one  side  having  the  portrait  of  the  Czar  and  the 
other  that  of  Napoleon.  When  he  is  suspected  by 
the  French,  he  calls  their  attention  to  it ;  but  unfor- 
tunately for  him  the  Russian  side  is  exposed,  and 
this  with  the  description  which  Von  Helbert  had 
so  kindly  posted  leads  to  his  arrest.  Finally  the 
Black  Hussar  regiment  arrives,  and  captures  the 
French  troops  just  as  they  have  captured  the  Rus- 
sian, which  had  previously  been  in  occupation,  so 
that  there  is  no  need  for  further  disguises.  The 
humorous  situations  in  the  opera  grow  out  of  the 
love-making  between  Von  Helbert  and  his  com- 
panion Waldermann  and  the  magistrate's  daughters 
Minna  and  Rosetta. 

Although  "  The  Black  Hussar  "  is  musically  in- 
ferior to  "  The  Beggar  Student,"  yet  it  has  many 
interesting  numbers,  among  them  the  long  descrip- 
tive song  of  Piffkow,  the  man  of  all  work,  "  Piffkow, 
Piffkow,  that 's  the  cry,"  which  reminds  one  in  its 
general  character  of  Figaro's  famous  song  in  *'  The 
Barber  of  Seville  " ;  the  magistrate's  buffo  song, 
"All  Night  long  I 've  weighed  and  sifted  "  ;  Hel- 
bert's  martial  recitative,  "  I  've  traversed  Lands 
that  once  were  green " ;  the  jolly  gossipers' 
chorus,  introducing  the  second  act ;  Piffkow's 
bombastic    song,  "  'T  was  in   the  Adjacent  Town 


I 


THE  BLACK  HUSSAR. 


-^iz 


Last  Night " ;  Minna's  quaint  Russian  song, 
"  Ivan  loved  his  Katza  well "  ;  the  introduced 
song,  "  Ohe,  mamma  "  ;  and  the  trio  following  it, 
"  The  Ways  of  Love  are  very  strange,"  which  closes 
the  act. 


NESSLER,   VICTOR   ERNST. 
C^e  Crumpeter  of  Safefeinffen. 

[Op^ra  comique,  in  a  prelude  and  three  acts  ;   text  by  Bunge. 
First  produced  at  the  Stadt  Theatre,  Leipsic,  May  4,  1884.] 

PERSONAGES. 

Baron  of  Schoenau. 

Margaretha,  his  daughter. 

Count  of  Wildenstein. 

Countess  Wildenstein,  the  Baron's  cousin. 

Damian,  the  Count's  son  by  a  second  marriage. 

Werner  Kirchoff,  the  "  trumpeter." 

CoNRADiN,  a  trooper. 
[Heralds,    youths,  maidens,  peasants,  school  children, 
students,  troopers,  etc.] 

The  scene  is  laid  in  Sakkingen,  on  the  Rhine;   time,  the  year 
1650,  near  the  close  of  the  Thirty  Years'  War. 

FEW  operas  have  had  the  advantage  of  such 
an  excellent  book  as  Nessler's  "Trumpeter 
of  Sakkingen,"  and  few  light  operas  have  had 
their  stories  so  legitimately  and  skilfully  illus- 
trated with  music.  The  text  is  based  upon  the 
metrical  romance  of  Victor  von  Scheffel's  "  Trum- 
peter Von  Sakkingen,"  known  and  admired  all 
over  Germany,  which  tells  the  story  of  the 
young  Werner  and  the  fair  Margaretha,  their 
romantic  wooing  and  final   union.     The   time  is 


THE    TRUMPETER   OF  sAkKINGEN.  -   135 

near  the  close  of  the  Thirty  Years'  War,  and  the 
hero  is  Werner  Kirchoff,  a  handsome,  dashing 
young  student,  who,  with  others  of  his  comrades, 
is  expelled  from  the  University  of  Heidelberg  be- 
cause of  their  frequent  carousals.  They  join  a 
body  of  troopers,  Werner  in  the  capacity  of  a 
trumpeter,  and  go  with  them  to  Sakkingen.  While 
there  he  has  the  good  fortune  to  protect  Marga- 
retha,  on  a  saint's  fete  day,  from  the  rudeness  of 
some  Hauenstein  peasants  who  are  ready  for  a 
revolt  against  the  Baron  von  Schoenau,  her  father. 
Margaretha,  who  is  in  company  with  the  Countess 
Wildenstein,  a  cousin  of  the  Baron,  who  has  sepa- 
rated from  her  husband,  gratefully  gives  Werner  a 
forget-me-not.  The  Countess  inquires  his  name  of 
his  trooper  comrade,  Conradin,  and  is  struck  with 
his  resemblance  to  her  son  who  had  been  carried 
off  by  gypsies  in  his  childhood.  In  the  next  scene 
the  Baron  has  received  a  letter  from  Count  Wilden- 
stein, in  which  he  states  that  his  second  wife  has 
died,  that  he  wishes  to  settle  the  misunderstanding 
with  his  first  wife,  the  Countess,  and  proposes 
Damian,  his  son  by  the  second  marriage,  as  a 
husband  for  Margaretha,  —  a  proposal  which  the 
Baron  promptly  accepts.  When  Margaretha  enters 
and  tells  of  her  adventures  with  Werner,  the  Baron 
regrets  that  his  old  trumpeter,  Rassmann,  is  not 
alive  to  summon  assistance  from  the  city  in  case 
of  attack  by  the  peasants.  Margaretha  tells  him 
of  Werner,  and  notwithstanding  the  Countess'  ob- 
jections, he  gives  the  position  to  him. 


136      THE  STANDARD  LIGHT  OPERAS. 

The  second  act  opens  with  a  love  scene  between 
Werner  and  Margaretha,  which  is  discovered  by 
the  Countess,  who  at  once  informs  the  Baron. 
When  Werner  asks  him  for  the  hand  of  Marga- 
retha, he  not  only  refuses  it,  but  orders  him  to  leave 
the  castle.  Werner  takes  his  farewell  of  Marga- 
retha, and  leaves  for  his  old  position  with  the 
troopers  in  the  city.  Meanwhile  the  Count  of 
Wildenstein  arrives  with  Damian,  but  he  makes  no 
impression  upon  Margaretha  notwithstanding  the 
Baron's  favor. 

In  the  last  act  the  denouement  comes  quickly. 
The  peasants  attack  the  castle,  and  the  Baron  calls 
upon  Damian  to  head  his  retainers  and  go  out  to 
meet  the  mob.  He  proves  himself,  however,  an 
arrant  coward,  and  in  the  midst  of  his  irresolution 
Werner  rides  up  at  the  head  of  his  troopers,  per- 
forms prodigies  of  valor,  and  saves  the  inmates  of 
the  castle.  A  birthmark  upon  his  arm  reveals  him 
as  the  long-lost  son  of  the  Countess,  and  nothing 
now  stands  in  the  way  of  Margaretha's  and  Wer- 
ner's felicity. 

In  the  prelude  and  first  act  the  most  noticeable 
numbers  are  the  students'  and  troopers'  choruses, 
written  in  the  best  German  style  —  the  prelude  in- 
deed is  almost  entirely  choral ;  the  peasants'  cho- 
ruses and  lively  dances  on  St.  Fridolin's  Day ;  the 
characteristic  growl  of  the  Baron  over  his  gout 
and  the  unreasonable  peasants ;  and  the  charming 
lyric  sung  by  Margaretha,  "  How  Proud  and  Grand 
his  Bearing."     The  most  conspicuous  numbers  in 


THE    TRUMPETER   OF  SAKKINGEN.    137 

the  second  act  are  a  lyric  sung  by  Werner,  "  On 
Shore  I  played  me  a  Merry  Tune  "  ;  the  love  scene 
between  Margaretha  and  Werner,  "Sun,  has  thy 
Light  not  grown  in  Splendor?  "  the  dramatic  quin- 
tette, "Must  so  soon  the  Sunshine  vanish?"  and 
Werner's  sentimental  and  beautiful  farewell,  "  Oh,  it 
is  sad  that  in  this  Life  below."  The  principal 
numbers  of  the  third  act  are  Margaretha's  song, 
"  My  Love  rode  out  to  the  Wide,  Wide  World  "  ; 
the  May  song,  "There  comes  a  Youth  of  Sweet 
Renown  "  ;  the  pantomime  and  dance  composing 
a  May  idyll ;  the  duet  for  Margaretha  and  Wer- 
ner, "  True  Love,  I  give  thee  Greeting  "  ;  and  the 
ringing  mass  chorus,  "  Faithful  Love  and  Trumpet 
blowing,"  which  closes  the  opera. 


I 


NICOLA  I,     OTTO. 

[Opera  coniique,  in  three  acts  ;  text  by  Mosenthal.  First  pro- 
duced in  Vienna,  April  i,  1847;  in  London,  May  3,  1S64;  in  New 
York,  April  27,  1863.] 

PERSONAGES. 
Sir  John  Falstaff. 
Mr.  Ford,  )  ggntigj^e^  dwelling  at  Windsor. 


Mr.  Page, 
Fenton. 
Slender. 

Dr.  Caius,  the  French  physician. 
Mistress  Ford. 
Mistress  Page. 

Anne  Page,  her  daughter,  in  love  with  Fenton. 
Host  of  the  Garter  Inn. 
[Citizens,  wives  of  Windsor,  servants,  fairies,  elves,  etc.] 

The  scene  is  laid  at  Windsor;  time, the  sixteenth  century. 

THE  Story  of  the  opera  follows  closely  that 
of  the  Shakespearian  comedy,  though  the 
action  is  principally  concerned  with  Falstaffs 
adventures  with  the  merry  wives,  with  the  at- 
tachment between  Fenton  and  Anne  furnishing 
the  romantic  incident.  Though  the  work  of  a 
German,  the  music  is  largely  in  the  Italian  style, 
and  the  dramatic  finish  is  French.    It  is  unneces- 


THE  MERRY   WIVES  OF   WINDSOR.       139 

sary  to  indicate  the  plot  in  further  detail  than  to 
say  it  includes  the  receipt  of  Sir  John's  amatory 
epistles  by  Mrs.  Ford  and  Mrs.  Page,  his  conceal- 
ment among  the  foul  linen  in  the  hamper  and  sub- 
sequent sousing  in  the  Thames,  his  sad  experiences 
with  Ford's  cudgels,  and  his  painful  encounter 
with  the  mock  fairies,  elves,  and  other  sprites  in 
Windsor  Park. 

The  leading  numbers  in  the  opera  are  a  duet  for 
the  two  merry  wives,  opening  the  opera,  in  which 
they  read  Falstaffs  letters,  "  No,  no,  this  really  is 
too  bad,"  closing  with  an  exquisitely  humorous 
phrase  as  they  pronounce  the  name  of  the  writer 
in  unison ;  a  beautiful  little  aria,  "  Joking  and 
Laughter,"  in  the  Italian  style,  sung  by  Mrs.  Ford ; 
and  the  finale  to  the  first  act  beginning  with  a 
mock  serious  aria  in  which  Mrs.  Ford  bewails  her 
husband's  jealousy,  followed  by  a  sextette  and 
chorus,  and  closing  with  a  highly  dramatic  aria  in 
which  Mrs.  Ford  changes  from  grief  to  rage  and 
violently  denounces  Ford. 

The  second  act  opens  with  a  drinking-song  for 
Falstaff,  "Whilst  yet  a  Child  on  my  Mother's 
Breast,"  which  is  full  of  rollicking,  bacchanalian 
humor,  as  well  as  are  the  accessories  of  the  song. 
Falstaff  sings  one  verse,  and  his  followers  drain 
their  huge  mugs  to  the  bottom.  One  of  them  falls 
senselessly  drunk,  and  is  immediately  borne  out 
upon  the  shoulders  of  his  comrades  with  funereal 
honors,  led  off  by  Falstaff,  all  chanting  a  sort  of 
mock   dirge.      A   descriptive   and    spirited   buffo 


I40       THE  STANDARD  LIGHT  OPERAS. 

duet  between  Falstaff  and  Ford  follows,  in  which 
the  former  relates  his  adventures  in  the  hamper. 
The  only  remaining  number  of  consequence  in  this 
act  is  the  romanza,  "  Hark,  the  Lark  in  yonder 
Grove,"  sung  by  Fenton.  The  last  act  is  very 
short,  and  made  up  of  a  beautiful  trio  for  Mrs. 
Ford,  Mrs.  Page,  and  Falstaff,  "The  Bell  has 
pealed  the  Midnight  Chime  "  ;  the  romantic  ballad, 
"  Of  Heme,  the  Hunter,  a  Legend  old,"  and  the 
fairy  dance  and  chorus,  "About,  about,  ye  Elves, 
about,"  which  close  the  opera. 


I 


I 


OFFENBACH,   JACQUES. 
CI)e  (Bvmti  Bttd^edfl!  of  (BtvoUttin* 

[Opera   bouffe,  in  three  acts;    text   by  Meilhac  and    Hal6vy, 
First  produced  at  the  Variet6s,  Paris,     April  12,  1867.] 

PERSONAGES. 

Grand  Duchess. 
Wanda,  a  peasant  girl. 
IzA,  maid  of  honor. 
Olga,  maid  of  honor. 

Prince  Paul,  neglected  suitor  of  the  Duchess. 
Gen.  Boum,  in  command  of  the  army. 
Baron  Puck,  Court  chamberlain. 
Baron  Grog,  emissary. 
Fritz,  a  recruit. 
Nepomuc,  aide  de  camp. 
[Lords  and   court   ladies,  pages,  soldiers,  vivandieres, 
country  girls,  etc.] 

The  scene  is  laid  in  the  imaginary  Duchy  of  Gerolstein  ;  time, 
the  year  1720. 

THE  Grand  Duchess  of  Gerolstein,"  though 
in  some  respects  inferior  musically  to  "Or- 
pheus," by  the  same  composer,  is  altogether  the 
most  perfect  type  of  the  opera  bouffe.  For  the 
drollness  of  its  story,  the  originality  of  its  char- 
acters as  well  as  of  its  music  and  obstreperous 
gayety,  dash,  and  geniality  mixed  with  occasional 
seriousness   and   grace,    this   work   when   it   first 


142        THE  STANDARD  LIGHT  OPERAS. 

appeared  was  unique,  though  Offenbach  rose  to 
his  highest  achievement  when  dealing  with  the 
gods  and  goddesses  of  Olympus  in  his  "  Orpheus," 
which  revealed  his  powers  of  musical  burlesque  at 
their  best. 

The  first  act  opens  with  a  grand  review  of  the 
army  of  the  duchy,  commanded  by  the  pompous 
General  Boum,  at  which  the  Duchess  is  present. 
In  its  ranks  there  is  a  recruit,  known  by  the  name 
of  Fritz,  who  has  already  aroused  the  General's 
jealousy  by  his  attentions  to  Wanda,  a  peasant 
girl.  He  continues  still  further  to  add  to  this 
jealousy  when  the  Duchess,  attracted  by  his  good 
looks,  singles  him  out  for  her  regard  and  promotes 
him  to  the  post  of  corporal.  When  she  learns  of 
his  relations  to  Wanda,  she  raises  him  to  the  rank 
of  lieutenant,  evidently  to  separate  him  from 
Wanda  by  the  new  elevation.  The  review  over, 
the  Duchess  studies  the  plan  of  a  pending  cam- 
paign against  a  neighboring  enemy.  She  summons 
General  Boum  in  the  presence  of  Baron  Puck,  her 
court  chamberlain.  Prince  Paul,  a  feeble  and  ne- 
glected suitor  of  the  Duchess,  and  Lieutenant 
Fritz,  who  is  now  her  special  body-guard,  and  asks 
him  for  his  plan  of  campaign,  which  he  states,  much 
to  the  disgust  of  Fritz,  who  declares  it  to  be  sheer 
nonsense.  The  Duchess  then  asks  the  latter  for 
his  plan,  and  is  so  much  pleased  with  it  that  she 
appoints  him  general  and  raises  him  to  the  rank 
of  baron,  much  to  the  discomfort  and  indignation 
of  the  others. 


GRAND  DUCHESS   OF  GEROLSTEIN.       143 

The  second  act  opens  with  the  return  of  Fritz. 
He  has  been  victorious,  and  at  the  pubUc  reception 
given  him  he  tells  the  story  of  his  adventures. 
Subsequently  at  a  tete-a-tete  with  the  Duchess, 
she  makes  open  love  to  him ;  but  he  is  so  occupied 
with  thoughts  of  Wanda  that  he  is  insensible  to  all 
her  advances,  which  puts  her  in  a  rage.  Overhearing 
a  conspiracy  between  Puck,  Paul,  and  the  deposed 
General  Bourn  against  his  life,  she  joins  with  them, 
and  the  act  closes  with  a  wild,  hilarious  dance. 

In  the  third  act  Baron  Grog,  emissary  of  Prince 
Paul's  father,  appears  upon  the  scene  to  expedite 
the  marriage  of  the  Prince  to  the  Duchess.  He 
joins  the  conspiracy  against  Fritz,  and  so  ingratiates 
himself  with  the  Duchess  that  she  finally  consents 
to  marry  the  Prince.  In  the  mean  time  she  coun- 
termands the  order  for  Fritz's  assassination,  and 
gives  him  permission  to  marry  Wanda.  The  con- 
spirators, however,  play  a  practical  joke  upon  Fritz 
by  a  false  message  summoning  him  to  the  battle- 
field. He  leaves  at  once  on  the  wedding-night,  but 
through  the  connivance  of  General  Bourn  is  way- 
laid and  badly  beaten.  While  the  betrothal  of  the 
Duchess  is  being  celebrated,  Fritz  returns  in  sad 
plight,  with  the  sabre  which  the  Duchess  has 
given  him  in  a  battered  condition.  She  adds  to 
his  misfortunes  by  depriving  him  of  his  command 
and  bestowing  it  upon  Baron  Grog,  but  learning 
that  he  has  a  family,  she  reinstates  General  Boum. 
In  the  denouement  Fritz  is  restored  to  his  Wanda 
and  the  Duchess  marries  Prince  Paul. 


144       THE  STANDARD  LIGHT  OPERAS. 

The  music  is  in  keeping  with  the  drollery  of 
the  situations,  and  abounds  in  vivacity  and  odd 
descriptiveness,  defying  all  accepted  laws  and 
adapting  itself  to  the  grotesquerie  and  extrava- 
gance of  the  action.  The  principal  numbers  in 
the  first  act  are  the  pompous  ''  Pif,  paf,  pouf  "  song 
of  General  Boum  ;  the  Grand  Duchess'  air,  **  Ah  ! 
I  love  the  Military  "  ("  Ah  !  que  j'aime  les  mili- 
taires");  the  regiment  song  for  her  and  Fritz, 
"  Oh  !  what  a  Famous  Regiment "  ("  Ah  !  c'est  un 
fameux  regiment")  ;  the  couplets  of  Prince  Paul, 
*<  To  marry  a  Princess "  ("  Pour  ^pouser  une 
Princesse  ")  ;  and  the  famous  sabre  song,  "  Lo, 
here  the  Sabre  of  my  Sire  "  ("  Voici,  le  sabre 
de  mon  pere").  The  best  numbers  of  the 
second  act  are  Fritz's  spirited  rondo,  "All  in 
Good  Order,  Colors  flying  "  ("En  tres  bon  ordre 
nous  partimes  "),  in  which  he  tells  the  story  of  his 
victory ;  the  romanza  "  Say  to  him  "  ("  Dites 
lui"),  a  delightful  little  song,  and  so  refined  that 
it  hardly  seems  to  belong  to  the  opera ;  and  the 
conspirators'  trio,  "  Max  was  a  Soldier  of  Fortune  " 
('*  Max  6tait  soldat  de  fortune"),  which  is  irre- 
sistible in  its  broad  humor  and  queer  rhythms. 
The  musical  interest  really  reaches  its  climax  in 
the  second  act.  Outside  of  the  chorus  work  in 
the  third  act,  there  is  little  of  interest  except  the 
Duchess'  ballad,  "  There  lived  in  Times  now  long 
gone  by  "  ("  II  ^tait  un  de  mes  aieux  "),  and  Fritz' 
song  to  the  Duchess,  "  Behold  here,  your  High- 
ness "  ("  Eh  bien,  Altesse,  me  voila  !  "). 


LA  BELLE  HELl^NE.  145 


la  ^clle  J)tUne. 

[Opera  bouffe,  in  three  acts  ;  text  by  De  Meilhac  and  Hal6vy. 
First  produced  at  the  Theatre  des  Varietes,  Paris,  December  17, 
1864.] 

PERSONAGES. 

Helen,  Queen  of  Sparta. 
Paris,  son  of  Priam. 
Menelaus,  King  of  Sparta. 
Agamemnon,  King  of  the  Kings. 
Calchas,  augur. 
Achilles,  King  of  Phthiotis. 
AjAX  I.,  King  of  Salamis. 
AjAX  II  ,  King  of  the  Locrians. 
Orestes,  son  of  Agamemnon. 
Bacchis,  attendant  of  Helen. 
Parthcenis. 

LCENA. 

Philocomes,  servant  of  Calchas. 
EuTHYCLES,  a  blacksmith. 
[Princes,    princesses,    courtiers,     Helen's    attendants, 
slaves,  etc.] 

The  scene  is  laid  in  Sparta ;  time  mythical. 

In  "  La  Belle  H^lene  "  Offenbach  goes  back  to 
the  mythical  period,  and  presents  the  heroes  of  the 
time  of  Helen  and  Paris  in  modern  burlesque. 
The  first  act  opens  at  the  temple  of  Jupiter  in 
Sparta,  where,  among  others  who  have  placed  their 
offerings  at  his  shrine,  is  Helen.  When  alone 
with  Calchas,  the  augur,  they  discuss  some  means 
of  avoiding  the  decree  of  the  oracle  which  has 
declared  she  is  to  leave  Menelaus,  her  husband, 


146        THE  STANDARD  LIGHT  OPERAS. 

and  fly  with  Paris,  son  of  Priam,  to  Troy.  Before 
a  decision  is  reached,  Paris,  disguised  as  a  shep- 
herd, arrives,  and  soon  he  and  Helen  are  lovers. 
They  meet  again  in  a  grand  tournament  in  which 
the  two  Ajaxes,  Achilles,  Agamemnon,  and  others 
announce  themselves  in  the  most  comic  fashion 
and  guess  at  conundrums  for  a  prize.  Paris  wins, 
and  proclaims  his  name  and  lineage,  to  the  delight 
of  Helen,  whose  delight  is  still  further  enhanced 
when  the  oracle  orders  Menelaus  to  set  off  at  once 
for  Crete. 

In  the  second  act  Helen  struggles  against  the 
decrees  of  Venus.  Paris  has  an  interview  with  her, 
but  she  will  not  yield,  and  he  retires.  By  the  aid 
of  Calchas  he  secures  admission  to  the  chamber 
of  the  slumbering  Queen,  when  Menelaus  suddenly 
returns  and  an  altercation  ensues,  during  which 
Paris  defies  all  the  Grecian  heroes,  and  Helen 
philosophically  informs  Menelaus  he  should  have 
announced  his  coming  beforehand.  Paris  again 
retreats,  and  Helen  is  now  in  despair. 

In  the  third  act  Helen  and  Menelaus  have  a 
family  quarrel,  and  he  charges  her  with  being 
false.  She  denies  it,  and  declares  he  has  been 
dreaming.  Calchas  now  appears,  and  announces 
that  a  new  augur  has  been  appointed  and  is  on  his 
way  there.  A  golden  galley  is  seen  approaching, 
and  the  new  augur  is  found  to  be  Paris  himself. 
He  brings  word  that  Venus  is  angry  at  what  has 
been  going  on,  but  will  relent  if  Helen  will  return 
with  him  to  her  shrine  and  sacrifice  white  heifers. 


LA   BELLE  IIJ^L^NE.  147 

She  is  reluctant  to  go,  but  finally  decides  to  obey 
the  voice  of  destiny,  and  sails  away  with  him, 
leaving  them  all  behind  in  grief  and  Menelaus  in 
rage. 

The  dialogue  of  "  La  Belle  H^lene  "  is  very 
witty,  though  coarse  at  times,  and  many  of  the 
situations  are  full  of  a  humorous  incongruity  and 
drollness  growing  out  of  the  attempt  to  modernize 
these  mythological  heroes.  The  music  admirably 
fits  the  text,  and  though  not  so  gay  as  that  of  "The 
Grand  Duchess,"  yet  is  fresh,  original,  and  in- 
teresting throughout.  The  chief  numbers  of  the 
work  are  Helen's  passionate  song  of  mourning  for 
Adonis,  "  Divine  Love  "  (''  Amours  divins  ")  ; 
Paris'  fable,  "  On  Mount  Ida,  three  Goddesses  " 
("Au  Mont  Ida,  trois  deesses"),  in  which  he 
tells  the  well-known  apple  story ;  the  march  and 
chorus,  "  Here  are  the  Kings  of  Greece  "  ("  Voici 
les  rois  de  la  Grece"),  in  which,  one  after  the 
other,  they  come  forward  and  announce  them- 
selves in  an  irresistibly  funny  manner;  Helen's 
mock  sentimental  song,  "  We  all  are  born  with 
Solicitude  "  ("  Nous  naissons  toutes  soucieuses  ")  ; 
the  droll  goose  march  of  the  Kings ;  a  fascinating 
chorus,  "  Let  us  wreathe  Crowns  of  Roses " 
("  En  courronnes  tressons  roses  ")  ;  Helen's  song, 
"A  Husband  Wise  "  ("  Un  mari  sage  "),  one  of 
the  most  characteristic  numbers  in  the  opera; 
and  in  the  last  act  Orestes'  song,  "  In  spite  of  this 
Ardent  Flame  "  (*^Malgr6  cette  ardente  flamme  ")  ; 
the   spirited   trio,    *'  When    Greece    has   become 


148       THE  STANDARD  LIGHT  OPERAS. 

2l  Field  of  Carnage"  ("Lorsque  la  Grece  est  un 
camp  de  carnage ") ;  and  the  final  chorus, 
*' Let  now  our  Wrath"  ("Que  notre  colere"), 
which  preludes  the  Trojan  war. 


[Opera  bouffe,  in  three  acts;  text  by  Cremieux.  First  produced 
at  the  Bouffes  Parisiens,  Paris,  October  21, 1858.] 

PERSONAGES. 

Pluto,  disguised  as  Aristeus. 
Jupiter,  King  of  the  Gods. 
Orpheus,  the  lutist. 
John  Styx,  the  ferryman. 
Mercury,  the  messenger. 
Bacchus,  God  of  wine. 
Mars,  God  of  war. 
EuRYDicE,  spouse  of  Orpheus. 
Diana,  Goddess  of  the  hunt. 
Public  Opinion. 
JuNO,  consort  of  Jupiter. 
Venus,  Goddess  of  love. 
Cupid,  her  messenger. 
Minerva,  Goddess  of  wisdom. 

The  scene  is  laid  near  Thebes  ;  time,  mythical. 

The  best  musical  work  of  Offenbach  undoubtedly 
is  to  be  found  in  his  '*  Orpheus  aux  Enfers,"  and 
the  text  which  his  librettist  furnished  him  is  in 
keeping  with  the  music.  It  was  a  bold  as  well  as 
droll  conception  to  invest  the  Olympian  gods  and 
goddesses  with  human  attributes  and  make  them 
symbols   of  worldly   departments   of  action   and 


ORPHEUS.  149 

official  life,  to  parade  them  in  processions  like  the 
ordinary  street  pageant,  to  present  them  in  ban- 
quets, to  dress  them  in  the  most  fantastically 
individual  manner,  and  to  make  nineteenth-cen- 
tury caricatures  of  the  whole  Olympian  coterie. 

The  first  scene  of  the  opera  discloses  Eurydice 
in  the  Theban  meadows  plucking  flowers  with 
which  to  decorate  the  cabin  of  Aristeus,  the 
shepherd,  who  is  really  Pluto  in  disguise.  Sud- 
denly Orpheus  appears,  not  with  his  tortoise-shell 
lyre,  but  playing  the  violin  and  serenading,  as  he 
supposes,  a  shepherdess  with  whom  he  is  in  love. 
His  mistake  reveals  the  fact  that  each  of  them  is 
false  to  the  other,  and  a  violent  quarrel  of  the 
most  ludicrous  description  ensues,  ending  in  their 
separation.  He  goes  to  his  shepherdess,  she  to 
her  shepherd.  Shortly  afterwards,  Aristeus  meets 
Eurydice  in  the  fields  and  reveals  his  real  self. 
By  supernatural  power  he  turns  day  into  night  and 
brings  on  a  tempest,  in  the  midst  of  which  he  bears 
her  away  to  the  infernal  regions,  but  not  before 
she  has  written  upon  Orpheus'  hut  the  fate  that 
has  overtaken  her.  When  Orpheus  returns  he  is 
overjoyed  at  his  loss,  but  in  the  midst  of  his  exul- 
tation. Public  Opinion  appears  and  commands 
him  to  go  to  Olympus  and  demand  from  Jupiter 
the  restoration  of  his  wife.  Orpheus  reluctantly 
obeys  the  order. 

The  second  act  opens  in  Olympus,  where  the 
gods  and  goddesses  are  enjoying  a  nap,  from  which 
they  are  awakened  by  the  blasts  of  Diana's  horn. 


150        THE  STANDARD  LIGHT  OPERAS. 

Thereupon  much  slanderous  gossip  is  circulated 
amongst  them,  the  latest  news  discussed  being 
Pluto's  abduction  of  Eurydice.  Pluto  himself 
shortly  comes  in,  and  is  at  once  taxed  by  Jupiter 
with  his  unseemly  behavior,  whereupon  Pluto  re- 
taliates by  reference  to  Jupiter's  numerous  amours 
with  mortals.  This  arouses  the  jealousy  of  Juno. 
Venus,  with  Cupid's  assistance,  starts  a  veritable 
riot,  which  is  suddenly  interrupted  by  the  arrival 
of  Orpheus  and  his  guide.  Public  Opinion.  He 
demands  that  his  wife  shall  be  restored  to  him, 
and  Jupiter  not  only  consents,  but  agrees  to  attend 
to  the  matter  personally. 

The  third  act  finds  Eurydice  in  Hades,  carefully 
guarded  by  John  Styx.  Jupiter  is  faithful  to  his 
promise,  and  soon  arrives  there,  but  not  in  his 
proper  person.  He  appears  in  the  disguise  of  a 
fly,  and  allows  Eurydice  to  catch  him,  after  which 
he  reveals  himself.  When  Pluto  comes  in,  he  finds 
her  transformed  into  a  bacchante  of  the  most 
convivial  sort.  Other  deities  make  their  appear- 
ance, and  finally  Orpheus  comes  sailing  up  the 
Styx,  playing  his  violin,  and  demanding  of  Jupiter 
the  fulfilment  of  his  contract.  Jupiter  consents, 
but  makes  the  condition  that  he  shall  return  to  his 
boat,  Eurydice  following  him,  and  that  he  must 
not  look  back.  Orpheus  sets  out,  but  just  before 
he  reaches  the  boat,  the  cunning  Jupiter  launches 
a  thunderbolt  after  him,  which  causes  him  to  turn 
and  lose  Eurydice,  much  to  the  disgust  of  Public 
Opinion,  but  greatly  to  the  edification  of  Orpheus, 


ORPHEUS.  151 

who  is  now  at  liberty  to  return  to  his  shepherdess 
on  the  Theban  plain. 

The  most  striking  numbers  in  this  curious 
travesty  are  the  opening  aria  of  Eurydice,  as  she 
gathers  the  flowers,  "Woman  that  dreams  "  ("La 
femme  dont  la  coeur  reve  ")  ;  the  pastoral  sung 
to  her  by  Aristeus,  "  To  see  through  the  Vines  " 
("Voir  vokiger  sous  les  treilles  ")  ;  the  fascinat- 
ing hunting-song  of  Diana,  "  When  Diana  comes 
down  the  Plain  "  ("  Quand  Diane  descend  dans 
la  plaine  ")  ;  the  characteristic  and  taking  song 
of  John  Styx,  "  When  I  was  King  of  Boeotia  " 
("Quand  j'^tais  roi  de  Beotie  "),  which  in  its  way 
is  as  striking  as  the  sabre  song  in  "The  Grand 
Duchess  "  ;  Eurydice's  deHcate  fly-song,  "  Beauti- 
ful Insect,  with  Golden  Wings  "  ("Bel  insecte,  a 
I'aile  doree  ")  ;  the  drinking-song  in  the  infernal 
regions,  "  Hail  to  the  Wine  "  ("  Vive  le  vin  ")  ; 
and  Eurydice's  vivacious  bacchanalian  song  which 
immediately  follows  it,  "I  have  seen  the  God 
Bacchus  "  ("  J'ai  vu  le  dieu  Bacchus  "). 


PLANQUETTE,    ROBERT. 
C^e  CMtnes  of  jBormauKp. 

[Op6ra  comique,  in  three  acts  ;  text  by  Clairville  and   Gabet. 
First  produced  at  the  Folies  Dramatiques,  Paris,  April  19,  1877.] 

PERSONAGES. 

Serpolette,  the  good-for-nothing. 
Germaine,  the  lost  Marchioness. 

SUSANNE. 

Jeanne. 

Henri,  Marquis  of  Corneville, 
Jean  Grenicheux,  a  fisherman. 
Gasparu,  an  old  miser. 
Baillie,  magistrate. 
Notary, 
[Peasants,  sailors,  servants,  waiting-maids,  etc.] 

The  scene  is  laid  in  Normandy;  time  of  Louis  the  Fifteenth. 

THE  first  act  of  this  charming  opera,  one  of 
the  most  popular  of  its  class,  opens  in  an 
old  Norman  village  during  the  progress  of  a  fair. 
Henri,  the  Marquis  of  Villeroi,  who  has  been  an 
exile  since  childhood,  has  just  returned.  The 
first  scene  discloses  a  number  of  village  gossips 
who  are  retailing  scandals  about  Serpolette,  the 
good-for-nothing,  who  arrives  in  time  to  vindi- 
cate herself  and  retaliate  upon  the  gossips.     Gas- 


THE   CHIMES  OF  NORMANDY.  153 

pard,  the  miser,  has  arranged  to  give  his  niece 
Germaine  in  marriage  to  the  sheriff,  who  is  the 
chief  dignitary  in  the  village.  Germaine,  however, 
objects  to  the  proposition,  since  if  she  marries  at  all 
she  claims  she  must  marry  Jean  Grenicheux,  a 
young  fisherman,  in  gratitude  for  saving  her  life. 
To  escape  the  marriage  she  and  Jean  become  the 
servants  of  the  Marquis,  and  are  joined  by  Serpo- 
lette,  which  is  one  of  the  privileges  of  fair-time. 

The  second  act  is  occupied  with  the  exposure 
of  the  ghosts  in  the  castle  of  Villeroi.  The  Mar- 
quis is  confident  that  there  is  nothing  supernatural 
about  the  apparition  which  has  been  seen  or  the 
sounds  which  have  been  heard  in  the  various  apart- 
ments. He  therefore  introduces  his  servants  into  the 
castle,  and  after  careful  searching  discovers  that  the 
ghost  of  Villeroi  is  old  Gaspard,  the  miser,  who, 
when  he  is  found  out,  becomes  crazy  through  fear 
of  losing  treasures  which  are  concealed  there. 

In  the  last  act  the  casde  is  restored  to  its  old 
splendor,  and  the  Marquis  takes  possession  as  mas- 
ter. He  gives  a  fete  and  the  villagers  are  invited, 
the  crazy  Gaspard  being  among  them.  Serpolette 
appears  as  a  grand  lady  with  Jean  as  her  factotum, 
some  papers  found  in  the  castle  indicating  she  is 
the  lost  heiress.  After  a  love  scene  between  Henri 
and  Germaine,  however,  Gaspard,  who  has  recov- 
ered his  reason,  discloses  that  Germaine,  and  not 
Serpolette,  is  the  rightful  heiress  and  the  true  claim- 
ant to  the  title  of  marchioness.  All  the  compli- 
cations are  now  unravelled.     Gaspard's  treasure  is 


154        THE   STANDARD   LIGHT  OPERAS. 

restored  to  its  rightful  owner.  Germaine  comes 
to  her  rights,  and  Serpolette  remains  with  her  as  her 
friend. 

The  music  of  the  opera  is  delightful  throughout, 
and  has  scarcely  a  dull  moment.  Its  most  con- 
spicuous numbers  are  Serpolette's  rondo,  "  In  my 
Mysterious  History "  ;  a  delightful  little  fantaisie, 
"Go,  Little  Sailor";  the  legend  of  the  chimes, 
"Alas  !  we  have  lost  Excellent  Masters  "  ;  Henri's 
grand  aria,  "  I  have  thrice  made  the  Tour  of  the 
World  "  ;  and  his  couplets,  "  Under  the  Armor  from 
Top  to  Toe  "  ;  Serpolette's  sprightly  aria,  "  Viscoun- 
tess and  Marchioness  "  ;  the  chorus  with  the  chimes, 
a  most  graceful  and  interesting  number  closing  the 
second  act ;  and  in  the  last  act  Gaspard's  quaint 
old  Norman  song,  "  We  were  full  Five  Hundred 
Rogues  "  ;  Serpolette's  rondo,  "  The  Apple 's  a 
Fruit  full  of  Vigor " ;  and  Henri's  romance,  "  A 
Servant,  what  Matter  to  me?  " 


RICCI,     LUIGI. 
CriEipina. 

[Opera  buffa,  in  three  acts  ;  text  by  Piave.     First  produced  in 
Venice,  in  1850.] 

PERSONAGES. 

Annetta,  the  cobbler's  wife. 

La  Comare,  the  fairy. 

Crisping,  the  cobbler. 

Il  Contino,  the  Count. 

Dr.  Fabrizio. 

Dr.  Mirobolante. 

Don  Asdrubal. 

Lisetta. 
[Clerks,  waiters,  servants,  etc.] 
The  scene  is  laid  in  Venice ;  time,  the  last  century. 

THE  first  act  of  this  charming  little  fairy 
opera  opens  with  a  unison  chorus  of  apothe- 
cary's apprentices,  "Thump,  thump"  ("  Batti, 
batti").  Crispino,  a  poor  cobbler,  over  head 
and  ears  in  debt,  whose  wife  Annetta  tries  to 
help  him  out  by  ballad  singing,  is  seated  at  his 
bench  at  work  in  front  of  his  house.  In  the 
intervals  of  the  chorus  the  Count,  who  figures 
in  a  side  plot,  sings  a  beautiful  romanza,  "Thou 
Beauteous  as  an  Angel  art "  ("  Bella  siccome  un 
angelo").  Then  Crispino  bewails  his  hard  fortune 
in  a  quaint  melody,  "  Once  a  Cobbler"  ("  Una  volta 


156        THE  STANDARD  LIGHT  OPERAS. 

un  ciabattino")j  ^f^^'^  w^^^^  Annetta  introduces 
herself  with  a  canzonetta,  "  My  Pretty  Tales  and 
Songs  "  ("  Istorie  belle  e  leggere  "),  leading  up  to 
a  minor  duet  between  them.  In  the  sixth  scene  a 
buffo  aria,  "I  am  a  Bit  of  a  Philosopher  "  ("  lo 
sono  un  po'  filosofo  ")  is  sung  by  Dr.  Fabrizio. 
At  last  Crispino  gets  into  such  desperate  straits 
that  he  resolves  to  make  way  with  himself.  He  is 
about  to  jump  into  a  well  when  a  fairy  appears 
and  dissuades  him,  at  the  same  time  giving  him  a 
purse  of  gold  and  offering  to  set  him  up  in  business 
as  a  doctor,  telling  him  he  must  look  about  him 
whenever  he  has  a  patient,  and  if  she  is  not  present 
he  will  be  successful.  The  act  closes  with  a  duet 
for  Crispino  and  Annetta,  *'  Since  you  have  found 
a  Fairy"  ("Troffo  so,  basta  per  ova"). 

The  second  act  discloses  Crispino  in  the  midst 
of  a  flourishing  business,  and  the  delighted  Annetta 
sings  a  joyous  little  melody,  ''  I  no  longer  am 
Annetta  "  ("  lo  non  sono  piu  I'Annetta  ") .  A  work- 
man who  has  met  with  an  accident  is  brought  to 
Crispino  for  treatment,  and  as  the  fairy  is  not 
present  he  is  successful.  The  musical  treatment 
of  the  healing  scene  is  worked  up  with  great  skill. 
It  begins  with  a  baritone  solo,  leading  up  to  a 
duet  with  soprano  and  chorus  accompaniment.  A 
sextette  then  takes  up  the  theme,  and  in  the  close 
all  on  the  stage  give  it  with  impressive  effect.  A 
broadly  humorous  but  very  melodious  trio  of  the 
doctors  follows,  "Sirs,  what  means  this  Quarrel?" 
("Ma  Signori,  perche  tantes  questione?").      In 


CR  IS  PINO.  157 

the  next  scene  Annetta  sings  the  pretty  Fritola 
song,  "Pietro,  DarHng,  this  Cake  so  Tempting" 
("Piero  mio,  go  qua  una  fritola"),  in  which  she 
boasts  the  merits  of  a  cake  she  has  made  for  the 
Carnival.  Meanwhile  Crispino  grows  so  puffed  up 
with  his  wealth  that  when  Annetta  invites  some 
old  friends  to  the  house  he  drives  them  out,  and  is 
about  to  strike  Annetta  when  the  fairy  suddenly 
appears. 

In  the  last  act  the  fairy  has  taken  Crispino  to 
a  cavern,  where  she  shows  him  crystal  vases  in 
which  more  or  less  briUiant  lights  are  burning. 
She  tells  him  that  each  represents  a  human  Hfe. 
The  one  burning  so  brightly  is  Annetta's,  the  one 
so  dimly  is  his  own.  When  he  asks  her  to  take 
some  oil  out  of  Annetta's  lamp  and  put  it  into 
his,  she  upbraids  him,  reveals  herself  as  death,  and 
tells  him  to  make  his  last  request,  for  he  is  about 
to  die.  In  a  doleful  ballad,  "  Little  I  ask,  Dearest 
Fairy"  ("  Poco  cerco,  O  mia  Comare"),  he  asks 
for  only  a  half-hour  more,  so  that  he  may  see 
Annetta  and  the  children.  A  sudden  change  of 
scene  shows  him  in  his  own  house,  awaking  from 
sleep  in  his  chair.  As  he  realizes  that  it  has  been 
only  a  nightmare,  occasioned  by  a  sudden  fit  of 
illness,  he  expresses  his  deliglit  and  Annetta  ex- 
presses her  joy  in  a  brilliant  waltz  movement, 
"  There's  no  Joy  that  e'er  hath  given  me  "  ("  Non 
ha  gioja  in  tal  Momento "),  which  closes  the 
opera. 


ROSSINI,  GIOACHINO   ANTONIO. 
€l^t  barber  of  ^et)ille. 

[Opera  buffa,  in  two  acts  ;  text  by  Sterbini.     First  produced  at 
the  Argentina  Theatre,  Rome,  February  5,  1816.] 

PERSONAGES. 

RosiNA,  ward  of  Dr.  Bartolo. 

Bert  A. 

Figaro,  the  barber. 

Count  Almaviva,  lover  of  Rosina. 

Dr.  Bartolo. 

Basilio,  a  music-master. 
[Officers,  soldiers,  etc.] 
The  scene  is  laid  in  Seville  ;  time,  the  eighteenth  century. 

THE  story  and  the  music  of  "  The  Barber 
of  Seville  "  are  as  fresh  and  dehghtful  as 
when  the  opera  was  first  produced  eighty-six 
years  ago.  Its  story  is  almost  as  familiar  as  house- 
hold words,  and  no  music  has  been  more  popu- 
lar on  the  operatic  stage  than  its  gay,  brilliant 
arias.  Count  Almaviva  loves  Rosina,  the  ward 
of  Dr.  Bartolo,  who  wishes  to  marry  her  him- 
self, but  the  Count  is  unable  to  get  an  inter- 
view with  her  until  it  is  arranged  for  by  Figaro, 
the  factotum  of  the  place.  In  spite  of  Bartolo's 
watchfulness,    as   well   as   that    of    Don    Basilio, 


THE   BARBER    OF  SEVILLE.  1 59 

her  music-teacher,  who  is  only  too  wilHng  to 
serve  Bartolo,  she  succeeds  in  writing  to  the 
Count  and  telling  him  that  his  love  is  returned. 
With  Figaro's  help  the  Count  gets  into  the  house 
disguised  as  a  drunken  dragoon,  but  is  promptly 
arrested.  The  next  time  he  secures  admission  as 
a  music-teacher  upon  the  pretence  that  Don 
Basilio  is  sick,  and  has  sent  him  to  give  Rosina  her 
lesson.  He  further  hoodwinks  Bartolo  by  produc- 
ing the  letter  Rosina  had  written  to  himself,  and 
promises  to  persuade  her  that  the  letter  has  been 
given  him  by  a  mistress  of  the  Count,  which  will 
break  the  connection  between  the  two.  He 
secures  the  coveted  interview,  and  an  elopement 
is  planned.  The  unexpected  appearance  of  Don 
Basilio,  however,  upsets  the  arrangements,  and  the 
disconcerted  lover  makes  good  his  escape.  In  the 
mean  time  Bartolo,  who  has  the  letter,  shows  it  to 
his  ward  and  arouses  her  jealousy.  She  thereupon 
promises  to  marry  her  guardian.  At  the  time  set 
for  the  elopement,  the  Count  and  Figaro  arrive. 
A  reconcihation  is  speedily  effected,  and  the  Count 
and  Rosina  are  married  just  as  Bartolo  makes  his 
appearance  with  officers  to  arrest  the  Count. 
After  mutual  explanations,  however,  all  ends 
happily. 

The  opera  opens,  after  a  short  chorus,  with  the 
Count's  serenade,  "  Lo,  smiling  in  the  Orient  Sky  " 
("  Ecco  ridente  in  cielo"),  one  of  the  most  beauti- 
ful numbers  in  the  opera.  In  the  second  scene 
Figaro  sings  the  lively  and  well-known  buffo  aria, 


l6o       THE  STANDARD  LIGHT  OPERAS. 

"  Make  Room  for  the  Factotum  "  ("  Largo  al  fac- 
totum"). A  light  and  lively  duet  between  Figaro 
and  the  Count  leads  up  to  the  chamber  aria  of 
Rosina,  "  The  Voice  I  heard  just  now  "  ("  Una 
voce  poco  fa"),  which  is  not  only  very  expressive 
but  remarkably  rich  in  ornamentation.  In  the  next 
scene  occurs  the  calumny  aria,  *'  Oh  !  Calumny  is 
like  the  Sigh"  ("  La  Calunnia  e  un  venticello  "). 
It  is  followed  by  a  florid  duet  and  a  dialogue  be- 
tween Rosina  and  Bartolo,  closing  with  the  bass 
aria,  **  No  longer  conceal  the  Truth  "  ("Non  piu 
tacete  ").  The  finale  is  composed  of  three  scenes 
full  of  glittering  dialogue  and  melodious  passages. 
The  second  act  opens  with  a  soliloquy  by  Bar- 
tolo, interrupted  by  a  duet  with  the  Count.  The 
music-lesson  scene  follows  in  which  the  artist 
personating  Rosina  is  given  an  opportunity  for 
interpolation.  In  the  next  scene  occurs  a  dialogue 
quintette,  which  is  followed  by  a  long  aria  for  Ber- 
tha, "  There  is  always  Noise  "  ("  Sempre  gridi  "), 
which  the  Italians  called  the  **  aria  de  sorbetto,"  as 
they  used  to  eat  ices  while  it  was  sung.  In  the 
eighth  scene,  after  a  long  recitative,  an  instrumen- 
tal prelude  occurs,  representing  a  stormy  night, 
followed  by  recitative  in  which  the  Count  reveals 
himself,  leading  up  to  a  florid  trio,  and  this  in 
turn  to  the  elegant  terzetto,  "  Sofdy,  softly,  no 
Delay"  ("Zitti,  zitti,  piano,  piano").  A  bravura 
and  finale  of  light,  graceful  melody  close  the  opera. 


I 


SOLOMON,   EDWARD. 
Cilice  Caplor. 

[Nautical  comic  opera,  in  two  acts;  text  by  Stephens.     First 
produced  in  London  in  1880  ] 

PERSONAGES. 

Felix  Flapper,  R.  N.,  Captain  of  "  H.  M.  S.  Thunder- 
bomb." 

Sir  Mincing  Lane,  knight. 

BiLLEE  Taylor. 

Ben  Barnacle. 

Christopher  Crab,  tutor. 

Phcebe  Farleigh,  a  charity  girl. 

Arabella  Lane,  heiress. 

Eliza  Dabsey. 

Susan. 

Jane  Scraggs. 

[Villagers,  peasants,  sailors,  press  gang,  etc.] 

The  scene  is  laid  in  Southampton,  England ;  time,  the  year  1805. 

THE  Story  of  **  Billee  Taylor  "  is  based  upon 
an  old  English  marine  ballad  of  the  same 
name.  The  first  act  opens  at  the  inn  of  the 
Royal  George  in  Southampton,  where  the  villagers 
have  gathered  to  celebrate  the  wedding  of  Billee 
Taylor  and  Phoebe  Farleigh,  a  charity  girl.  The 
heiress,  Arabella  Lane,  is  also  in  love  with  Billee, 
and   has   offered   him   her   hand,   which  he    has 


1:62        THE  STANDARD   LIGHT  OPERAS. 

rejected.  Her  father,  Sir  Mincing  Lane,  is  going 
to  give  the  villagers  a  feast  upon  the  occasion  of 
Billee's  wedding,  and  invites  his  friend.  Captain 
Flapper,  to  attend.  The  captain  accepts,  falls  in 
love  with  Phoebe  at  sight,  and  vows  Billee  shall 
not  marry  her.  Crab,  the  tutor,  is  also  in  love 
with  Phoebe.  In  Captain  Flapper's  crew  is  Bill 
Barnacle,  who  went  to  sea  "  on  account  of  Eliza," 
who  had  been  unfaithful  to  him,  and  he  is  ordered 
by  the  press  gang  to  carry  Billee  away,  which  he 
does  during  the  wedding  festivities. 

The  second  act  opens  at  Portsmouth,  two  years 
supposedly  having  elapsed.  All  the  charity  girls, 
among  them  Phoebe,  disguised  as  sailors,  followed 
Billee  to  sea,  who  in  the  mean  time  has  risen  to  a 
lieutenancy.  Arabella  forces  her  attentions  upon 
him  and  he  is  inclined  to  yield.  At  this  juncture 
Phoebe,  still  seeking  her  lover,  turns  up  as  a  com- 
mon sailor  answering  to  the  name  of  Richard  Carr. 
Captain  Flapper  in  her  presence  mentions  that  he 
is  in  love  with  her,  also  that  Billee  is  about  to 
marry  Arabella.  Sir  Mincing  Lane,  now  a  com- 
mander of  volunteers,  endeavors  to  persuade  some 
of  the  sailors  to  join  him,  and  Phoebe  offers  her- 
self as  a  recruit,  but  is  claimed  as  a  messmate  by 
Barnacle,  which  leads  to  a  quarrel.  Crab  then 
incites  Phoebe  to  revenge  herself  upon  her  recreant 
lover,  and  she  fires  at  him,  but  the  shot  hits  Crab. 
She  is  arrested  and  is  about  to  be  executed,  but  is 
released  when  she  declares  herself  a  woman.  In 
the  end  Billee  is  disrated,  but   marries  Arabella. 


BILLEE    TAYLOR,  163 

Barnacle  secures  his  Eliza.  Phoebe  marries  the 
captain,  and  is  made  full  lieutenant  of  the 
"Thunderbomb." 

"  Billee  Taylor  "  is  essentially  a  ballad  opera. 
The  best  of  the  ballads  are  "The  Virtuous 
Gardener,"  in  which  Billee  describes  the  ethical 
pleasures  of  gardening;  "The  Two  Rivers,"  sung 
by  Phoebe,  Susan,  and  chorus ;  "  The  Self-made 
Knight,"  by  Sir  Mincing  Lane,  which  resembles 
Sir  Joseph  Porter's  song  in  the  first  act  of 
"Pinafore"  ("When  I  was  a  Lad  I  served  a 
Term  ")  ;  Phoebe's  sentimental  song,  "The  Guile- 
less Orphan";  Barnacle's  well-known  song,  "  All 
on  account  of  Eliza " ;  Crab's  humorous  ditty, 
"The  Poor  Wicked  Man"  ;  Angelina's  sentimental 
"  Ballad  of  the  Billow  "  ;  and  Captain  Flapper's 
disquisition  on  love  in  the  interrogative  song, "  Do 
you  know  why  the  Rabbits  are  caught  in  the 
Snares?" 


SOUSA,   JOHN   PHILIP, 
ei  Capitan. 

[Comic  opera,  in  three  acts  ;  text  by  Klein.     First  produced  at 
the  Tremont  Theatre,  Boston,  April  13,  1896.] 

PERSONAGES. 

Medigua,  Viceroy  of  Peru. 
Cazarro,  deposed  viceroy. 
Pozzo,  secretary  of  Medigua. 
Verrada,  in  love  with  Isabel. 
Scaramba,  an  insurgent. 
EsTRELDA,  Cazarro's  daughter. 
Marghanza,  Medigua's  wife. 
Isabel,  her  daughter. 
[Troops,  insurgents,  peasants,  etc.] 

The  scene  is  laid  in  Peru ;  time,  the  eighteenth  century. 

AT  the  opening  of  the  story  Cazarro,  viceroy 
of  Peru,  has  been  deposed  by  the  King 
of  Spain,  and  Medigua  has  been  appointed  in 
his  stead.  Cazarro  incites  a  revolution,  and  sends 
to  Spain  for  El  Capitan,  a  noted  soldier,  to  come 
to  his  help.  He  sails  on  the  same  ship  with 
Medigua,  in  the  disguise  of  a  seaman,  but  is 
killed  in  a  quarrel  on  board.  Medigua  finds 
out  who  he  was,  and  when  he  lands,  discovering 
that  his  faction  is  in  a  hopeless  minority,  he  pro- 


EL    C A  PI  TAN.  165 

claims  himself  El  Capitan  and  joins  the  rebels. 
To  further  his  scheme  he  induces  his  secretary, 
Pozzo,  to  represent  the  Viceroy.  Among  the 
other  characters  are  Scaramba,  a  revolutionist  in 
love  with  Estrelda,  daughter  of  Cazarro  ;  the  Prin- 
cess Marghanza,  wife  of  Medigua ;  her  daughter 
Isabel ;  and  Count  Verrada,  who  is  in  love 
with  her.  Estrelda  falls  in  love  with  the  pseudo 
El  Capitan,  which  arouses  Scaramba's  jealousy. 
Pozzo  is  thrust  into  prison,  much  to  the  grief 
of  the  Princess  and  of  Isabel,  who  believe  him 
to  be  Medigua.  After  the  arrival  of  the  Spanish 
troops,  however,  Medigua  declares  himself.  The 
rebelHon  is  squelched,  all  are  pardoned,  and  every- 
thing ends  happily. 

The  principal  numbers  of  the  first  act  are  a 
pretty  drinking-song  for  the  chorus ;  a  solo  for 
Medigua,  "  If  you  examine  Human  Kind,"  followed 
by  a  dialogue  and  leading  up  to  an  aria  for 
Estrelda,  "When  we  hear  the  Call  for  Battle," 
with  chorus  in  march  time  ;  a  second  march,  "  In 
me  you  see  El  Capitan,"  which  heralds  Medigua's 
entrance ;  the  chorus,  "  Lo,  the  Awful  Man  ap- 
proaches"; and  the  solo  and  chorus,  "  Bah,  bah," 
closing  the  act.  The  second  act  opens  with  a 
march  song,  "  Ditty  of  the  Drill,"  which  is  shordy 
followed  by  an  effective  scene  in  which  a  mournful 
accompaniment  representing  the  grief  of  Mar- 
ghanza and  Isabel,  and  a  festive  accompaniment 
setting  forth  the  exultation  of  Estrelda  and  her 
companions  as  they  bind  El  Capitan  with  garlands 


1 66        THE  STANDARD  LIGHT  OPERAS. 

of  roses,  are  interwoven.  As  the  Princess  dis- 
covers Medigua  in  El  Capitan,  a  quarrel  duet  fol- 
lows between  her  and  Estrelda,  leading  up  to  a 
pompous  military  finale,  as  the  Spanish  troops 
appear.  The  leading  numbers  of  the  third  act 
are  a  serenade  and  duet  for  Verrada  and  Isabel ; 
a  song  by  the  tipsy  Medigua,  "  The  Typical  Tune 
of  Zanzibar,"  which  is  the  most  popular  number  in 
the  opera ;  and  a  final  march  with  chorus. 


STRAUSS,    JOHANN. 

[  Op^ra  comique,  in  three  acts  ;  text  by  Zell  and  Gen^e.      First 
produced  in  Vienna,  November  25,  1881.] 

PERSONAGES. 

Countess  Violetta.  Else,  wife  of  Groats. 

Col.  Umberto.  Spiuzzi. 

Duke  de  Limburg.  Franchetti. 

Balthasar  Groats,  dealer  in  Biffi. 
tulip  bulbs. 

[Soldiers,  citizens,  etc.] 

The  scene  is  laid  in  Genoa  ;  time,  the  eighteenth  century. 

THE  "merry  war"  is  not  a  very  serious  one, 
as  may  be  inferred  from  its  title.  It  is  a 
quarrel  between  two  petty  states,  Genoa  and  Massa 
Carrara,  growing  out  of  the  fact  that  a  popular 
dancer  has  made  simultaneous  engagements  at 
the  theatres  of  each.  Both  claim  her,  and  the 
question  at  issue  is  at  which  theatre  the  dancer 
shall  appear.  One  harmless  hand  grenade  is 
thrown  from  either  side  with  monotonous  regu- 
larity each  day,  and  the  "  merry  war  "  is  without 
interesting  incident  until  the  pretty  Countess  Vio- 
letta appears  in  one  of  the  camps.  She  is  seeking 
to  make  her  way  in  disguise  into  the  city  of  the 
other   camp,  to   take   command   of  the   citadel. 


1 68       THE   STANDARD  LIGHT  OPERAS. 

Umberto,  the  colonel  commanding,  is  deceived 
by  her,  and  allows  her  to  pass  through  the  lines. 
When  informed  of  the  deception  he  determines  to 
take  his  revenge  by  marrying  her.  Understanding 
that  she  is  to  marry  the  Duke  de  Limburg  by 
prox}^,  he  impersonates  the  Duke  and  is  married 
to  Violetta  without  arousing  her  suspicions.  He 
is  assisted  ni  his  scheme  by  Balthasar  Groats,  a 
Dutch  speculator  in  tulip  bulbs,  whom  the  soldiers 
have  arrested,  thinking  him  a  spy,  and  who  is 
naturally  willing  to  do  anything  for  the  Colonel 
to  get  him  out  of  his  predicament.  Complications 
arise,  however,  when  Groats'  wife  appears  and 
becomes  jealous,  also  because  of  Violetta's  an- 
tipathy tovvards  her  supposed  husband  and  her 
affection  for  Umberto.  All  these  matters  are 
arranged  satisfactorily,  however,  when  there  is  an 
opportunity  for  explanation,  and  a  treaty  of  peace 
is  signed  between  the  two  states,  when  it  is  found 
that  the  cause  of  the  "  merry  war  "  will  not  keep 
her  engagement  with  either  theatre. 

The  music  of  *'  The  Merry  War  "  is  light  and 
gay  throughout.  Like  all  the  rest  of  the  Strauss 
operas,  it  might  be  said  that  it  is  a  collection  of 
marches  and  waltzes,  and  a  repetition  of  dance 
music  which  has  done  good  service  in  ballrooms, 
strung  upon  the  slight  thread  of  a  story.  Its  most 
taking  numbers  are  Umberto's  couplets,  "  Till  now 
no  Drop  of  Blood " ;  Balthasar's  comical  song, 
"  General,  ho  !  "  and  his  tulip  song,  "  From  Hol- 
land to  Florence  in  Peace  we  were  going  "  ;  Vie- 


THE   QUEEN'S  LACE  HANDKERCHIEF,       169 

letta's  arietta,  *' In  vain  I  cannot  fly";  the  dainty 
duet  for  Violetta  and  Umberto,  "Please  do"; 
Else's  romantic  song,  "  I  wandered  on  "  ;  the  en- 
semble and  Dutch  song  by  Artemisia,  "  The  much 
Admired  One  "  ;  Umberto's  love  song,  "The  Night 
begins  to  creep " ;  Vioietta's  song,  "  I  am  yet 
Commander  for  To-day,"  leading  to  a  terzetto  and 
spirited  final  chorus,  "  Of  their  Warlike  Renown." 

^\z  Queen's  lace  ^anUkercl^ief. 

[Op6ra  comique,  in  three  acts;  text  by  Gen^e  and  Bohrmann- 
Riegen.     First  produced  at  Vienna,  October  2,  1880.] 

PERSONAGES. 
The  King. 
The  Queen. 

Donna  Irene,  the  Queen's  confidante. 
Marquis  of  Villareal. 
Cervantes,  poet. 

Count  Villaboisy  Roderiguez,  Prime  Minister. 
Don  Sancho  de  Avellaneda,  tutor  to  the  King. 
Marquis  de  la  Mancha  Villareal,  Minister  of  War. 
Duke  of  Feria,  Minister  of  Finance. 
Count  San  Gregorio,  Minister  of  the  Interior. 
Count  Ermos,  Minister  of  the  Navy. 
Don  Diego  ue  Barados,  Minister  of  Police. 
Dancing-Master. 
Master  of  Ceremonies. 
Antonio,  innkeeper. 

[Students,  doctors,  ladies  and  gentlemen  of  the  court, 
toreadors,  brigands,  etc.] 

The  scene  is  laid  in  Portugal ;  time,  the  year  1570. 

The  romance  of  the  story  of  "  The  Queen's  Lace 
Handkerchief"  has  helped  to  make  this  opera  one 


170       THE   STANDARD   LIGHT  OPERAS, 

of  the  most  popular  of  Strauss'  works.  The  action 
begins  at  a  time  when  Portugal  is  ruled  by  a  minis- 
try whose  premier  is  in  league  with  Philip  II.  of 
Spain,  and  who,  to  keep  possession  of  power,  has 
fomented  trouble  between  the  young  Queen  and 
King,  and  encouraged  the  latter  in  all  kinds  of  dis- 
sipations. At  this  time  Cervantes,  the  poet,  who 
has  been  banished  from  Spain,  is  a  captain  in  the 
Royal  Guards,  and  in  love  with  Irene,  a  lady  in 
waiting.  These  two  are  good  friends  of  both  the 
King  and  Queen,  and  are  eager  to  depose  the  minis- 
try. Cervantes  is  reader  to  the  Queen,  and  the 
latter,  having  a  sentimental  attachment  for  him, 
writes  upon  her  handkerchief,  "A  queen  doth 
love  thee,  yet  art  thou  no  king,"  and  placing  it 
in  a  volume  of  "  Don  Quixote,"  hands  it  to  him. 
The  book  is  seized,  and  as  "  Don  Quixote  "  is 
Minister  of  War  and  ''Sancho  Panza"  Minister  of 
Instruction,  Cervantes  is  arrested  for  libel  and  trea- 
son. Irene  and  the  King,  however,  save  him  by 
proving  him  insane,  and  the  King  and  Queen  ascend 
the  throne.  In  desperation  the  premier  hands  the 
King  the  handkerchief  with  the  inscription  on  it, 
which  leads  to  the  re-arrest  of  Cervantes  and  the 
banishment  of  the  Queen  to  a  convent.  Cervantes 
escapes,  however,  and  joins  some  brigands.  They 
capture  the  Queen  on  her  way  to  the  convent,  and 
in  the  disguise  of  the  host  and  waiting-maid  of  an 
inn,  they  serve  the  King,  who  happens  there  on  a 
hunting-trip.  Everything  is  satisfactorily  accounted 
for,  and  the  inscription  on  the  handkerchief  is  ex- 


QUEEN  INDIGO.  17 1 

plained  as  a  message  which  the  Queen  sent  to  the 
King  by  Cervantes. 

The  music  is  hght  and  brilHant.  Much  of  it  is 
in  the  waltz  movement,  and  the  choral  work  is  a 
strong  feature.  Its  best  numbers  are  the  Queen's 
humorous  romanza,  ^'  It  was  a  wondrous  Fair  and 
Starry  Night";  another  humorous  number,  the 
King's  truffle  song,  "  Such  Dish  by  Man  not  oft  is 
seen"  ;  the  epicurean  duet  for  the  King  and  premier, 
"  These  Oysters  are  great  "  ;  Cervantes'  recitative, 
"  Once  sat  a  Youth,"  in  the  finale  of  the  first 
act :  a  dainty  little  romanza  for  Cervantes,  *'  Where 
the  Wild  Rose  sweetly  doth  blow  "  ;  the  trio  and 
chorus,  "Great  Professors,  Learned  Doctors  "  ;  the 
fine  duet  for  the  King  and  Cervantes,  "  Brighter 
Glance  on  him  shall  repose  "  ;  Sancho's  vivacious 
couplet,  "  In  the  Night  his  Zither  holding  "  ;  the 
Queen's  showy  song,  "  Seventeen  Years  had  just 
passed  o'er  me  "  ;  and  the  two  closing  choruses, 
"Now  the  King  all  hail,"  in  march  time,  and  the 
Bull-fight,  which  is  full  of  dash  and  spirit. 


[Opera  comique,  in  three  acts ;  text  by  Jaime  and  Wilder.     First 
produced  in  Vienna,  February  10,   1S71.] 

PERSONAGES. 

MoNTADADA  I.,  wiclow  of  King  Indigo. 
Fantasca,  the  late  King's  favorite. 
Janio,  the  late  King's  jester. 
Romadour,  chief  of  the  eunuchs. 


172        THE  STANDARD  LIGHT  OPERAS. 

RAnAZOUCK,  fruit  and  vegetable  vender. 
Mysouf,  general-in-chief. 
[Inmates  of  the  harem,  eunuchs,  cooks,  courtiers,  sol- 
diers, sailors,  etc.] 

The  scene  is  laid  in  Asiatic  Turkey ;  time,  the  last  century. 

At  the  opening  of  the  opera  King  Indigo  has 
just  died,  and  his  widow,  Montadada  I.,  decides 
to  sell  the  harem.  Fantasca,  a  beautiful  slave, 
wlio  was  the  favorite  of  the  King,  is  included 
among  those  to  be  sold,  and  Romadour,  chief  of 
the  eunuchs,  resolves  to  secure  her.  Fantasca  is 
in  love  with  Janio,  the  King's  jester,  of  her  own 
country.  Queen  Montadada  is  also  in  love  with 
him,  and  has  chosen  him  for  her  second  husband, 
but  he  prefers  Fantasca.  The  two  contrive  a 
cunning  plot  for  the  escape  of  the  entire  harem. 
Janio  informs  the  Queen  that  one  of  her  tribes 
has  revolted,  and  as  her  troops  are  all  sick  he  pro- 
poses that  the  women  be  armed  and  that  he  be 
placed  in  command.  She  accepts  the  proposal, 
and  promises  that  the  victor  "  shall  choose  the 
woman  he  loves,  did  she  even  wear  a  crown," 
not  doubting  Janio  will  select  her,  but,  much 
to  her  chagrin,  he  announces  Fantasca  as  his 
choice. 

The  second  act  discloses  the  Amazon  army 
with  Janio  and  Fantasca  at  its  head.  The  Queen 
also  accompanies  them,  still  bent  upon  securing 
Janio's  love.  At  the  first  alarm  the  troops  fly  in 
all  directions,  and  the  Queen,  suspicious  that  some- 
thing is  wrong,   scours   the  woods  for  Janio,  who 


QUEEN  INDIGO.  173 

makes  his  escape  by  changing  clothes  with  Baba- 
zouck,  a  fruit-vender.  The  Queen  meanwhile 
arrays  herself  in  male  attire,  so  tliat  she  may  com- 
pete in  physical  attractions  with  Fantasca.  She 
furthermore  gets  into  a  semi-drunken  condition, 
but  recognizes  the  cheat  when  Babazouck  is 
brought  before  her.  Immediately  thereafter  she 
falls  into  a  drunken  stupor.  Romadour  also 
comes  in  intoxicated,  and  mistaking  her  for  Fan- 
tasca, sings  to  her,  *'  O,  my  Queen,  I  love  you," 
in  a  deep  bass  voice.  The  act  closes  with  the 
two  sleeping  side  by  side,  and  the  women  of  the 
harem  carrying  off  the  royal  treasures. 

In  the  last  act  Janio,  Fantasca,  and  the  other 
slaves  are  preparing  for  flight,  when  the  Queen 
and  Romadour  enter.  The  former  announces  she 
no  longer  loves  Janio,  but  the  man  who  had  de- 
clared, "  Oh,  my  Queen,  I  love  you."  At  her 
request  Romadour  repeats  the  remark,  but  this 
time  in  a  high  falsetto  voice  which  she  does  not 
recognize.  Subsequently  he  changes  his  mind, 
after  hearing  of  Fantasca's  prowess  in  battle,  and 
exclaims,  "  O,  my  Queen,  I  love  you,"  in  the  bass 
voice.  The  Queen  promptly  claims  him  for  her 
husband  and  he  acquiesces.  She  then  orders 
Janio  and  Fantasca  to  be  sold,  but  Romadour 
intercedes  in  their  behalf,  and  she  banishes 
them. 

Like  all  the  Strauss  operas,  "Queen  Indigo"  is 
full  of  charming  waltz  music,  comprising,  in  addi- 
tion   to    many  novelties,  several  of  his    old-time 


174        THE  STANDARD  LIGHT  OPERAS. 

favorites.  The  most  effective  vocal  numbers  are 
the  trio,  *'  What  Dark  Forebodings "  ("  Quel 
sombre  et  noir  presage");  Fantasca's  couplets, 
"  A  Model  Soldier  "  ("  Cavalier  modele  "),  and  her 
song,  "VVoman  is  a  Cunning  Bird  "  ("La  femme  est 
un  oiseau  subtil")  ;  the  waltz  song,  "  Oh  !  Mad- 
dening Flame  "  ("  O  flamme  cuivrante  ")  ;  the 
characteristic  Tyrolienne,  "  Youpla  !  why.  Fond 
Lover"  ("Youpla,  pourquoi,  bel  amoureux")  ; 
and  the  "  Blue  Danube  "  chorus  of  the  sailors,  in 
the  last  act. 

{Die  Fledermaus.) 

[Op^ra  coniique,  in   three   acts ;    text  by  Haffner  and  Gen6e. 
First  produced  in  Vienna,  July,  1874.] 

PERSONAGES. 

EiSENSTEiN.  Ali  Bey,  an  Egyptian. 

Alfred,  singing-master.  Murray,  an  American. 

Frosch,  court  usher.  Cancorney,  a  Marquis. 

Frank,  prison  director.  Rosalind,  wife  of  Eisenstein, 

Dr.  Blind,  attorney.  Prince  Orlofsky. 

Dr.  Falke,  notary.  Adele,  Rosalind's  maid. 

Ivan,  Prince  Chamberlain.  Lord  Middleton. 
[Dancers,  masqueraders,  etc.] 

The  scene  is  laid  in  Germany  ;  time,  the  last  century. 

Strauss'  "  Die  Fledermaus,"  or  "  The  Bat,"  is 
founded  upon  Meilhac  and  HaMvy's  "  Le  Re- 
villon."  In  music  it  is  Viennese ;  in  dramatic 
effect,  it  is  French.     The  scene  opens  with  Adele, 


THE  BAT.  175 

maid  of  the  Baroness  Rosalind,  seeking  permis- 
sion to  visit  her  sister  Ida,  a  ballet-dancer,  who 
is  to  be  at  a  masked  ball  given  by  Prince  Orlof- 
sky,  a  Russian  millionaire.  She  receives  permis- 
sion, and  after  she  has  gone,  Dr.  Falke,  a  notary, 
who  has  arranged  the  ball,  calls  at  the  house  of 
the  Baron  Eisenstein,  and  induces  him  to  go  to 
it  before  going  to  jail,  to  which  he  has  been  sen- 
tenced for  contempt  of  court.  The  purpose  of 
the  doctor  is  to  seek  revenge  for  his  shabby  treat- 
ment by  the  Baron  some  time  before  at  a  mas- 
querade which  they  had  attended,  —  Eisenstein 
dressed  as  a  butterfly,  and  Falke  as  a  bat.  The 
doctor  then  notifies  the  Baroness  that  her  husband 
will  be  at  the  ball.  She  thereupon  decides  that 
she  will  also  be  present.  An  amusing  scene 
occurs  when  the  Baron  seeks  to  pass  himself  off 
as  a  French  marquis,  and  pays  his  devotions  to  the 
ladies,  but  is  quite  astonished  to  find  his  wife  there, 
flirting  with  an  old  lover.  There  are  further  com- 
plications caused  by  Falke,  who  manages  to  have 
Alfred,  the  singing-master,  in  the  Baroness'  apart- 
ments when  the  sheriff  comes  to  arrest  the  Baron, 
and  arrests  Alfred,  supposing  him  to  be  Eisen- 
stein. In  the  last  act,  however,  all  the  compli- 
cations are  disentangled,  and  everything  ends 
happily. 

It  would  be  impossible  to  name  the  conspicuous 
numbers  in  this  animated  and  sprightly  work  with- 
out making  a  catalogue  of  them  all.  The  opera 
is  a  grand  potpourri  of  waltz  and  polka  motives 


176        THE  STANDARD  LIGHT  OPERAS. 

and  fresh,  bright  melodies.  The  composer  does 
not  linger  long  with  the  dialogue,  but  goes  from 
one  waltz  melody  to  another  in  a  most  bewildering 
manner,  interspersing  them  with  romanzas,  drink- 
ing-songs, czardas,  an  almost  endless  variety  of 
dance  rhythms  and  choruses  of  a  brilliant  sort.  It 
is  a  charming  mixture  of  Viennese  gayety  and 
French  drollery,  and,  like  his  "  Roman' Carnival  " 
and  "  Queen  Indigo,"  is  the  very  essence  of  the 
dance. 


STUART,  LESLIE, 
f  loroHota* 

[Musical  comedy,  in  two  acts  ;  text  by  Hall.     First  produced 
in  London,  November  ii,  1899.] 

PERSONAGES. 

Cyrus  W.  Gilfain,  proprietor  of  the  islat\d  of  Florodora. 

Capt.  Arthur  Donegal,  Lady  Holyrood's  brother. 

Frank  Abercoed,  manager  for  Mr.  Gilfain. 

Leandro,  overseer. 

Anthony  Tweedlepunch,  phrenologist. 

Dolores. 

Valleda,  maid  to  Lady  Holyrood. 

Estelle  Lamont,  stenographer. 

Angela  Gilfain. 

Lady  Holyrood. 

[Florodorean  farmers,  flower-girls,  peasants,  etc.] 

The  scene  is  laid  in  the  island  of  Florodora  and  Wales  ;  time, 
the  present. 

FLORODORA,"  the  title  of  a  musical  comedy 
which  has  had  extraordinary  success  both  in 
England  and  the  United  States,  is  the  name  of  an 
island  and  a  perfume.  The  island  has  been  stolen 
by  Cyrus  Gilfain,  the  manufacturer  of  the  perfume, 
from  its  rightful  owner,  whose  daughter  Dolores 
works  in  his  factory.  He  is  anxious  to  marry  the 
girl,  so  that  he  may  retain  possession  of  the  island, 


lyS       THE  STANDARD  LIGHT  OPERAS. 

but  she  is  in  love  with  Abercoed,  the  chief  clerk, 
who  in  reality  is  Lord  Abercoed.  The  conspicu- 
ous comedy  element  of  the  work  is  supplied  by 
Tweedlepunch,  a  detective,  who  arrives  at  the 
island  in  Gilfain's  absence,  disguised  as  a  phre- 
nologist and  palmist,  in  search  of  the  real  owner's 
daughter.  When  Gilfain  returns  he  is  accompa- 
nied by  Lady  Holyrood,  a  London  society  woman, 
who  is  scheming  to  marry  him.  Lady  Holyrood's 
brother,  meanwhile,  is  in  love  with  Angela,  Gilfain's 
daughter.  Gilfain,  finding  that  Tweedlepunch  is 
a  phrenologist,  bribes  him  to  decide,  after  exam- 
ination, that  he  and  Dolores  must  wed,  and  that 
Abercoed,  whom  he  has  learned  is  a  peer,  must 
marry  his  daughter  Angela.  The  scheme  does 
not  satisfy  any  one  but  Gilfain,  and,  least  of  all. 
Lady  Holyrood,  who  bribes  Tweedlepunch  again 
to  decide  that  she  and  Gilfain  must  marry.  Aber- 
coed refuses  to  marry  Angela,  is  discharged  by 
Gilfain,  and  goes  back  to  England  with  the  inten- 
tion of  returning  later  for  Dolores. 

The  second  act  opens  in  the  grounds  of  Aber- 
coed Castle  in  Wales,  which  has  been  bought  by 
Gilfain,  who  refuses  to  admit  his  former  clerk. 
He  manages  to  get  in,  however,  in  company  with 
Tweedlepunch  and  Dolores,  and  Tweedlepunch, 
by  a  story  of  the  ghost  of  an  ancient  Abercoed 
which  has  threatened  dreadful  things  will  happen 
to  Gilfain,  so  terrifies  him  that  he  confesses  his 
villainy,  and  all  ends  happily.  Gilfain  finally  mar- 
ries   Lady  Holyrood,    Donegal    and   Angela     and 


FLORODORA.  179 

Abercoed  and  Dolores  are  also  married,  and  the 
castle  is  restored  to  the  rightful  owner. 

The  music  of  '*  Florodora  "  is  light  and  catchy, 
but  though  original  of  its  kind,  the  work  would 
hardly  have  achieved  its  remarkable  vogue  had  it 
not  been  for  its  brilliant  stage  setting,  dances,  and 
the  extravagant  comedy  role  of  Tweedlepunch. 
The  best  numbers  in  the  first  act  are  the  sextette, 
*'  The  Credit  due  to  me,"  by  the  clerks  and 
chorus;  the  song,  "When  I  leave  Town,"  by  Lady 
Holyrood  ;  and  Abercoed's  sentimental  song,  "  In 
the  Shade  of  the  Sheltering  Palm,"  the  only 
serious  and  musicianly  number  in  the  work.  The 
principal  numbers  of  the  second  act  are  Lady 
Holyrood's  topical  song  "Tact,"  and  "I've  an 
Inkling "  ;  Angela's  clever  song,  "  The  Fellow 
who  might "  ;  Donegal's  song,  "  I  want  to  be  a 
Military  Man"  ;  the  grotesque  song  and  dance  by 
Leandro  and  Valleda,  "  We  get  up  at  8  a.  m.  "  ; 
and  the  double  sextette,  "  Tell  me.  Pretty  Maiden," 
which  is  cleverly  constructed  and  has  a  fascinating 
rhythm. 


SULLIVAN,    ARTHUR. 

[Comic  operetta,  in  one  act  and  seven  tableaux  ;  text  by  Bur- 
nand.     First  produced  at  the  Adelphi  Theatre,  London,  1S67.] 

PERSONAGES. 

James  John  Cox,  a  journeyman  hatter. 
John  James  Box,  a  journeyman  printer. 
Sergt.   Bouncer,  late  of  the  Hampshire  Yeomanry. 
The  scene  is  laid  in  London  ;  time,  the  present. 

COX  and  Box  "  is  of  interest  because  it  is  the 
germ  from  which  sprang  the  long  Hst  of 
SulHvan's  charming  comic  operas.  Burnand,  the 
author  of  the  hbretto,  has  told  the  story  of  how 
they  came  to  write  this  little  operetta.  They  had 
been  to  a  private  performance  of  Offenbach's 
"  Les  deux  Aveugles,"  and,  Burnand  wishing  to 
present  something  of  the  same  kind  to  a  party 
of  his  own  friends,  the  notion  suddenly  occurred 
to  him  of  turning  Morton's  well-known  farce 
of  ''Box  and  Cox"  into  an  opera.  Sullivan 
took  to  the  plan  enthusiastically.  Burnand  re- 
versed the  title  to  "  Cox  and  Box,"  and  turned 
Mrs.  Bouncer  into  Sergeant  Bouncer,  so  as  to 
admit  of  a  martial  air.  They  had  but  three  weeks 
before  them,  but  at  the  end  of  that  time  the  work 


cox  AND  BOX.  l8l 

was  finished,  Sullivan  setting  the  music  with  almost 
incredible  rapidity.  It  made  such  a  great  hit 
that  it  was  decided  to  give  it  publicly,  and  at 
the  last  moment  the  composer  wrote  an  overture 
for  it. 

The  story  is  the  familiar  old  one  which  as 
"  Box  and  Cox "  was  for  so  many  years  and 
still  is  such  a  favorite  on  the  stage.  It  turns  upon 
the  funny  experiences  of  Cox,  the  hatter,  and 
Box,  the  printer,  who  are  occupying  the  same 
room,  the  one  by  night  and  the  other  by  day, 
unbeknown  to  each  other,  and  for  which  Sergeant 
Bouncer  gets  double  rent.  At  last  they  meet  in 
the  room  which  each  one  claims  as  his  own. 
After  a  ludicrous  dispute  they  gradually  become 
reconciled  to  each  other,  but  another  dispute 
ensues  when  Cox  finds  that  the  widow  Penelope 
Ann,  whom  he  is  about  to  marry,  has  been  deserted 
by  Box,  the  latter  pretending  to  have  committed 
suicide  to  get  rid  of  her.  Cox  insists  upon  restor- 
ing Box  to  the  arms  of  his  intended,  but  Box 
declines  his  generous  offer.  Then  they  agree  to 
decide  by  lot  which  shall  have  her,  but  each 
tries  to  cheat  the  other.  The  situation  resolves 
itself  satisfactorily  when  a  letter  comes  to  Cox  from 
Penelope  Ann,  announcing  that  she  has  decided 
to  marry  Knox.  They  give  three  cheers  for 
Knox,  and  Bouncer  closes  the  scene  with  a  joyous 
rataplan  in  which  all  three  join. 

The  situations  are  extremely  humorous  through- 
out, and  the  action  moves  briskly.    Though  Sulli- 


i82       THE  STANDARD   LIGHT  OPERAS. 

van  wrote  the  music  in  great  haste,  it  is  in  perfect 
keeping  with  the  fun  of  the  farce  and  keeps  up 
its  interest  to  the  end.  The  principal  numbers 
are  Bouncer's  rataplan  song,  "  Yes,  in  those  Merry 
Days,"  and  his  duet  with  Cox,  *' Stay,  Bouncer, 
stay  "  ;  Cox's  joyous  song,  '<  My  Master  is  punc- 
tual always  in  Business,"  with  its  dance  at  the  end 
of  each  stanza ;  the  characteristic  serenade,  "  The 
Buttercup  dwells  in  the  Lowly  Mead  "  (Cox)  and 
"The  Floweret  shines  on  the  Minaret  Fair" 
(Box)  ;  Box's  solemn  description  of  his  pretended 
suicide,  "  Listen  !  I  solemnly  walked  to  the  Cliff"  ; 
and  the  finale  by  the  jolly  triumvirate  with  the 
"  rataplan." 

Serial  lip  3Furp» 

[Operetta,  in  one  act ;  text  by  Gilbert.     First  produced  at  the 
Royalty  Theatre,  London,  March  25,  1875.] 

PERSONAGES. 

Learned  Judge. 

Plaintiff. 

Defendant. 

Counsel  for  the  Plaintiff. 

Usher, 

Foreman  of  the  Jury. 
Associate. 
First  Bridesmaid. 
[Barristers,  attorneys,  journeymen,  and  bridesmaids.] 
The  scene  is  laid  in  a   London  Court   of   Justice;  time,  the 
nineteenth  century. 

The    little  operetta,  "Trial  by  Jury,"  was  the 
first    result    of    the    successful    collaboration    of 


TRIAL   BY  JURY.  183 

Gilbert  and  Sullivan,  though  it  gave  little  hint 
of  the  extraordinary  excellence  as  well  as  popu- 
larity of  the  long  list  which  followed  it.  "  The 
words  and  music  were  written  and  all  the  rehear- 
sals completed  within  three  weeks,  and  all  London 
went  to  see  it,"  says  Sullivan's  biographer.  It 
was  produced  March  25,  1875,  and  had  quite 
a  run,  Frederick  Sullivan,  Sir  Arthur's  brother, 
appearing  in  the  role  of  the  judge  and  contrib- 
uting much  to  its  success. 

The  story  is  a  satire  upon  the  English  courts, 
the  incident  being  a  breach  of  promise  case. 
Edwin  is  sued  by  Angelina.  The  usher  impresses 
upon  the  jury  its  duty  to  divest  itself  of  prejudice 
in  one  breath,  and  in  the  next  seeks  to  prejudice  it 
against  the  defendant  by  most  violent  denuncia- 
tions of  him.  When  Edwin  enters  he  is  at  once 
requested  by  the  jury  to  "dread  our  damages." 
He  tells  them  how  he  became  "  the  lovesick  boy  " 
first  of  one  and  then  of  another.  The  jurymen  in 
chorus,  while  admitting  that  they  were  fickle  when 
young,  declare  that  they  are  now  respectable  and 
have  no  sympathy  with  him.  The  judge  enters, 
and  after  informing  the  audience  how  he  came 
to  the  bench,  announces  he  is  ready  to  try  the 
breach  of  promise  case.  The  jury  is  sworn.  Ange- 
lina enters,  accompanied  by  her  bridesmaids.  The 
judge  takes  a  great  fancy  to  the  first  bridesmaid, 
and  sends  her  a  note,  which  she  kisses  rapturously 
and  places  in  her  bosom.  Immediately  there- 
after  the   judge  transfers  his  admiration    to  the 


1 84  THE  STANDARD   LIGHT  OPERAS, 

plaintiff,  and  directs  the  usher  to  take  the  note 
from  the  bridesmaid  and  give  it  to  Angelina, 
which  he  does,  while  the  jurymen  taunt  the  judge 
with  being  a  sly  dog,  and  then  express  their  love 
for  her  also.  The  plaintiff's  counsel  makes  the 
opening  speech,  and  Angelina  takes  the  witness- 
stand,  but,  feeling  faint,  falls  sobbing  on  the  fore- 
man's breast,  who  kisses  her  as  a  father.  She 
revives,  and  then  falls  sobbing  upon  the  judge's 
breast,  while  the  jurymen  shake  their  fists  at  the 
defendant,  who  comes  forward  and  offers  to  marry 
Angelina  "  to-day  and  marry  the  other  to-morrow." 
The  judge  thinks  it  a  reasonable  proposition,  but 
the  plaintiffs  counsel  submits  that  '*  to  marry  two 
at  once  is  Burglaree."  In  this  dilemma  Angelina 
embraces  Edwin  rapturously,  but  he  repels  her 
furiously  and  throws  her  into  the  arms  of  her 
counsel.  The  jury  thereupon  becomes  distracted, 
and  asks  for  guidance,  whereupon  the  judge  de- 
cides he  will  marry  Angelina  himself,  to  which  she 
gives  enthusiastic  consent. 

The  best  numbers  in  the  operetta  are  the  de- 
fendant's song,  "  When  first  my  Old,  Old  Love  I 
knew  "  ;  the  juryman's  song,  "  Oh  !  I  was  like 
that  when  I  was  a  Lad " ;  the  judge's  song, 
"  When  I,  Good  Friends,  was  called  to  the  Bar  "  ; 
the  pretty  chorus  of  the  bridesmaids,  "  Cover 
the  Broken  Flower  "  ;  the  plaintiff's  song,  "  O'er 
the  Season  Vernal  "  ;  and  the  defendant's  song, 
*'  Oh  !  Gentlemen,  listen,  I  pray."  The  London 
"Times,"     after    the     first    performance,    said; 


THE  SORCERER.  185 

"  There  is  a  genuine  humor  in  the  music,  as  for 
instance  in  the  unison  chorus  of  the  jurymen,  and 
the  clever  parody  on  one  of  the  most  renowned 
finales  of  modern  Italian  opera ;  and  there  is  also 
melody,  both  catching  and  fluent,  here  and  there, 
moreover,  set  off  by  little  touches  in  the  orches- 
tral accompaniments  which  reveal  the  experienced 
hand." 

2rf)E  Sorcerer. 

[Comic  opera,  in  two  acts ;  text  by  Gilbert.  First  produced  at 
the  Opera  Comique,  London,  November  18,  1877.] 

PERSONAGES. 

Sir  Marmaduke  Pointdextre,  an  elderly  baronet. 
Alexis,  his  son,  of  the  Grenadier  Guards. 
Dr.  Daly,  vicar  of  Ploverleigh. 
Notary. 

John  Wellington  Wells,  of  Wells  &  Co.,  family  sor- 
cerers. 
Lady  Sangazure,  a  lady  of  ancient  lineage. 
Aline,  her  daughter,  betrothed  to  Alexis. 
Mrs.  Partlet,  a  pew-opener. 
Constance,  her  daughter. 
[Chorus  of  peasantry-l 

The  scene  is  laid  upon  an  English  estate;  time,  the  present. 

The  success  of  the  two  operettas,  *'  Cox  and 
Box "  and  *'  Trial  by  Jury,"  led  to  the  organ- 
ization of  a  company  under  the  management  of 
Mr.  D'Oyly  Carte  for  the  production  of  the  Sulli- 
van-Gilbert collaborations,  and  the  first  of  its 
performances  was  "  The  Sorcerer."     Incidentally 


1 86  THE  STANDARD  LIGHT  OPERAS. 

it  may  be  stated  that  this  opera  introduced  Mr. 
George  Grossmith  to  the  stage,  and  its  success  led 
to  a  proposition  from  "  Lewis  Carroll  "  to  Sullivan 
to  set  his  "  Alice  in  Wonderland  "  as  an  opera, 
though  the  scheme  was  never  realized.  The  li- 
bretto is  replete  with  humor,  and  the  music  is 
original  and  characteristic,  and  particularly  notice- 
able for  its  admirable  parodies  of  the  Italian 
operas,  and  yet  it  is  always  scholarly. 

The  first  act  opens  upon  the  grounds  of  Sir 
Marmaduke  Pointdextre's  estate,  where  the  vil- 
lagers are  gathered  to  celebrate  the  betrothal  of 
his  son  Alexis,  and  Aline,  daughter  of  Lady 
Sangazure,  with  whom,  fifty  years  before,  Sir 
Marmaduke  had  been  in  love.  Mrs.  Partlet,  the 
pew-opener,  enters  with  her  daughter  Constance, 
who  is  hopelessly  in  love  with  Dr.  Daly,  the 
vicar,  for  he  cannot  be  made  to  understand,  either 
by  her  demonstrations  or  by  the  mother's  hints, 
that  he  is  the  object  of  her  devotion.  Alexis  and 
Aline  are  congratulated  by  all,  and  sign  the  mar- 
riage contract.  When  alone  together,  Alexis  dis- 
courses upon  his  favorite  theory  that  all  artificial 
barriers  should  be  broken  down  and  that  marriage 
should  be  contracted  without  regard  to  rank.  To 
put  his  theory  into  practice  he  procures  from  the 
firm  of  J.  W.  Wells  &  Co.,  the  old  established 
family  sorcerers  of  the  place,  a  large  quantity  of 
their  love  potion,  which  has  no  effect  upon  mar- 
ried persons  but  will  cause  unmarried  ones  to 
couple  without  regard  to  rank  or  condition,  mixes 


THE  SORCERER.  187 

it  with  the  tea  and  serves  it  out  to  all  who  are  in 
attendance  at  the  betrothal  banquet.  Gradually 
all  fall  insensible,  and  the  act  clones. 

The  second  act  opens  upon  Sir  Marmaduke's 
grounds  at  midnight.  The  guests,  one  after  the 
other,  are  waking.  Alexis  tells  Aline  she  must 
take  some  of  the  potion  so  that  he  may  be  sure  of 
her  love,  which  she  does  after  much  protesting. 
As  they  regain  their  senses,  each  guest  makes  offer 
of  marriage  to  the  first  one  seen.  Constance  de- 
clares her  love  for  the  old  notary.  Sir  Marmaduke 
enters  with  Mrs.  Partlet,  the  venerable  pew-opener, 
on  his  arm  and  announces  his  intention  of  mar- 
rying her.  Wells  appears  on  the  grounds  in  a 
remorseful  condition  as  he  beholds  the  mischief 
he  has  caused,  and  Lady  Sangazure  proposes  to 
him,  and  leaves  in  great  anguish  when  he  declares 
he  is  already  engaged  to  "a  maiden  fair  on  a 
South  Pacific  Isle."  Aline  beholds  Dr.  Daly  and 
begins  to  fall  violently  in  love  with  him  and  he 
with  her.  Alexis,  in  alarm  at  the  trouble  he  is 
making,  seeks  out  Wells  and  demands  that  he 
shall  remove  the  spell.  Wells  explains  that  in 
order  to  do  this,  one  or  the  other  of  them  must 
offer  his  life  to  Ahrimanes.  Alexis  is  not  willing 
to  give  up  Aline,  and  Wells  is  averse  to  losing  his 
profitable  business.  They  agree  to  leave  the  de- 
cision to  the  guests,  and  the  latter  agree  that 
Wells  shall  make  the  sacrifice.  He  consents,  and 
all  go  back  to  their  old  lovers  as  he  sinks  through 
a  trap  amid  red  fire. 


i88        THE  STANDARD   LIGHT  OPERAS. 

The  most  conspicuous  numbers  in  the  first  act 
are  Dr.  Daly's  ballad,  ''Time  was  when  Love 
and  I  were  well  acquainted  "  ;  the  duet  between 
Sir  Marmaduke  and  Lady  Sangazure,  ''  Welcome 
Joy,  adieu  to  Sadness "  ;  Alexis'  ballad,  "  Love 
feeds  on  many  Kinds  of  Food  I  know  "  ;  Wells' 
long  and  rollicking  song,  "  Oh !  my  Name  is 
John  Wellington  Wells " ;  and  the  incantation 
music,  "  Sprites  of  Earth  and  Air."  The  second 
act  opens  with  a  charming  little  country  dance. 
The  principal  numbers  which  follow  it  are  Con- 
stance's aria,  ''  Dear  Friends,  take  Pity  on  my 
Lot  "  ;  the  ensemble  for  Aline,  Alexis,  Constance, 
and  the  Notary,  "  O,  Joy !  O,  Joy  !  "  ;  Alexis' 
ballad,  "  Thou  hast  the  Power  thy  Vaunted  Love  "  ; 
the  quintette,  "■  I  rejoice  that  it's  decided  "  ;  Dr. 
Daly's  humorous  song,  *'  Oh  !  my  Voice  is  sad 
and  low"  ;  and  the  final  ensemble,  '*  Now  to  the 
Banquet  we  press." 


f^.  JK.  5.  ^Pinafore ;    or,  Wc^t  Eass  tftat  ILoijetJ 
a  Sailor. 

[Comic  opera,  in  two  acts  ;  text  by  Gilbert.     First  pioduced  at 
the  Op6ra  Comique,  London,  May  28,  18 78.] 

PERSONAGES. 

The  Rt.  Hon.  Sir  Joseph  Porter,  K.C.B.,  First  Lord 

of  the  Admiralty. 
Capt.  Corcoran,  commanding  "  H.  M.  S.  Pinafore." 
Ralph  Rackstraw,  able  seaman. 
Dick  Deadeye,  able  seaman. 


H.   M.   S.   PINAFORE.  189 

Bill  Borstay,  boatswain's  mate. 

Bob  Becket,  carpenter's  man. 

Tom  Tucker,  miclshipmite. 

Sergeant  of  Marines, 

Josephine,  the  Captain's  daughter. 

Hebe,  Sir  Joseph's  first  cousin. 

Little  Buttercup,  a  bumboat  woman. 
[First  Lord's  sisters,  his  cousins,  his  aunts,  sailors,  ma- 
rines, etc.] 

The  scene  is  laid  on  the  quarterdeck  of  "  H.  M.  S.  Pinafore  "  ; 
time,  the  present. 

Although  "  Pinafore,"  when  it  was  first  pro- 
duced in  London,  was  received  so  coolly  that  it 
was  decided  to  take  it  off  the  boards,  yet  eventu- 
ally, with  the  exception  of  "  The  Beggar's  Opera," 
it  proved  to  be  the  most  popular  opera  ever  pro- 
duced in  England ;  while  in  the  United  States  it 
was  for  years  the  rage,  and  is  still  a  prime  favorite. 
The  first  scene  introduces  the  leading  characters 
on  the  deck  of  "  H.  M.  S.  Pinafore"  in  the  har- 
bor of  Portsmouth.  Little  Buttercup,  a  bumboat 
woman,  "  the  rosiest,  the  roundest,  and  the  reddest 
beauty  in  all  Spithead,"  comes  on  board  and  has 
an  interview  with  Dick  Deadeye,  the  villain  of  the 
story,  and  Ralph  Rackstraw,  "  the  smartest  lad  in  all 
the  fleet,"  who  is  in  love  with  Josephine,  Captain 
Corcoran's  daughter.  The  Captain  comes  on 
deck  in  a  melancholy  mood  because  Josephine  has 
shown  herself  indifferent  to  Sir  Joseph  Porter, 
K.C.B.,  who  is  to  ask  for  her  hand  that  after- 
noon. She  confesses  to  her  father  that  she  loves 
a  common  sailor,  but  will  carry  her  love  to  the 


190       THE   STANDARD  LIGHT  OPERAS. 

grave  without  letting  him  know  of  it.  Sir  Joseph 
comes  on  board  with  a  long  retinue  of  sisters, 
cousins,  and  aunts,  who  chant  his  praises.  After 
attending  to  some  minor  details,  he  has  a  fruitless 
interview  with  the  Captain  and  Josephine.  She 
declares  she  cannot  love  him.  Shortly  afterwards 
she  meets  Ralph,  who  declares  his  love  for  her, 
but  she  haughtily  rejects  him.  When  he  draws 
his  pistol  and  declares  he  will  shoot  himself, 
she  acknowledges  her  love,  and  they  plan  to  steal 
ashore  at  night  and  be  married.  Dick  Deadeye 
overhears  the  plot  and  threatens  to  thwart  it. 

The  second  act  opens  at  night.  Captain  Cor- 
coran is  discovered  sadly  complaining  to  the  moon, 
and  wondering  why  everything  is  at  *'  sixes  and 
sevens."  Little  Buttercup  sympathizes  with  him, 
and  is  about  to  become  affectionate,  when  he 
informs  her  he  can  only  be  her  friend.  She 
grows  enraged,  and  warns  him  there  is  a  change  in 
store  for  him.  Sir  Joseph  enters,  and  informs  the 
Captain  he  is  much  disappointed  at  the  way 
Josephine  has  acted.  The  Captain  replies  that 
she  is  probably  dazzled  by  his  rank,  and  that  if  he 
v/ill  reason  with  her  and  convince  her  that  "  love 
levels  all  ranks,"  everything  will  be  right.  Sir 
Joseph  does  so,  but  only  pleads  his  rival's  cause. 
She  tells  him  she  has  hesitated,  but  now  she  hesi- 
tates no  longer.  Sir  Joseph  and  the  Captain  are 
rejoicing  over  her  apparent  change  of  heart,  when 
Dick  Deadeye  reveals  the  plot  to  elope  that  night. 
The  Captain  confronts  them  as  they  are  stealthily 


H.   M.  S.   PINAFORE.  19 1 

leaving  the  vessel,  and  insists  upon  knowing  what 
Josephine  is  about  to  do.  Ralph  steps  forward 
and  declares  his  love,  whereupon  the  Captain  grows 
furious  and  lets  slip  an  oath.  He  is  overheard  by 
Sir  Joseph,  who  orders  him  to  his  cabin  "  with 
celerity."  He  then  inquires  of  Ralph  what  he  has 
done  to  make  the  Captain  profane.  He  replies  it 
was  his  acknowledgment  of  love  for  Josephine, 
whereupon,  in  a  towering  rage,  Sir  Joseph  orders 
his  imprisonment  in  the  ship's  dungeon.  He  then 
remonstrates  with  Josephine,  whereupon  Little 
Buttercup  reveals  her  secret.  Years  before,  when 
she  was  practising  baby-farming,  she  nursed  two 
babies,  one  of  "  low  condition,"  the  other  "  a 
regular  patrician,"  and  she  "  mixed  those  children 
up  and  not  a  creature  knew  it."  "  The  well-born 
babe  was  Ralph,  your  Captain  was  the  other." 
Sir  Joseph  orders  the  two  before  him,  gives  Ralph 
the  command  of  "  H.  M.  S.  Pinafore,"  and  Cor- 
coran Ralph's  place.  As  his  marriage  with  Jo- 
sephine is  now  impossible,  he  gives  her  to  Ralph, 
and  Captain  Corcoran,  now  a  common  seaman, 
unites  his  fortunes  with  those  of  Little  Buttercup. 

It  is  one  of  the  principal  charms  of  this  delight- 
ful work  that  it  is  entirely  free  from  coarseness  and 
vulgarity.  The  wit  is  always  delicate,  though  the 
satire  is  keen.  Words  and  music  rarely  go  so  well 
together  as  in  this  opera.  As  a  prominent  English 
critic  said  of  "  Trial  by  Jury,"  "  it  seems,  as  in  the 
great  Wagnerian  operas,  as  though  poem  and 
music    had    proceeded    simultaneously    from    one 


192        THE  STANDARD   LIGHT  OPERAS. 

and  the  same  brain."  The  chorus  plays  a  very 
important  part  in  it,  and  in  the  most  solemnly 
ludicrous  manner  repeats  the  assertions  of  the 
principals  in  the  third  person.  All  its  numbers 
might  be  styled  the  leading  ones,  but  those  which 
have  become  most  popular  are  the  song,  "  I  'm 
called  Little  Buttercup  "  ;  Josephine's  sentimental 
song,  "Sorry  her  Lot  who  loves  too  well,"  one  of 
the  few  serious  numbers  in  the  opera ;  Sir  Joseph 
Porter's  song,  "  I  am  the  Monarch  of  the  Sea," 
with  its  irresistible  choral  refrain,  "  And  so  are  his 
Sisters  and  his  Cousins  and  his  Aunts,  his  Sisters 
and  his  Cousins,  whom  he  reckons  by  the  Dozens," 
leading  up  to  the  satirical  song,  "  When  I  was  a  Lad, 
I  served  a  Term  "  ;  the  stirring  trio,  ''  A  British 
Tar  is  a  Soaring  Soul  "  ;  Captain  Corcoran's  senti- 
mental ditty,  "  Fair  Moon,  to  thee  I  sing " ; 
Josephine's  scena,  "  The  Hours  creep  on  apace," 
with  its  mock  heroic  recitative ;  Dick  Deadeye's 
delightful  song,  "The  Merry  Maiden  and  the 
Tar  " ;  the  pretty  octette  and  chorus,  "  Farewell, 
my  own " ;  Little  Buttercup's  legend,  "  A  many 
Years  ago,  when  I  was  young  and  charming  "  ;  and 
the  choral  finale,  "  Then  give  three  Cheers  and 
one  Cheer  more." 


THE  ri RATES  OF  PENZANCE.  193 


^\t  iptrateg  of  Penzance;  or,  Wf^t  l)Iat)e  of  5Dtttp. 

[Comic  opera,  in  two  acts;  text  by  Gilbert.     First  produced  in 
England  at  the  Opera  Comique,  April  3,  1880.] 

PERSONAGES. 

Maj.-Gen.  Stanley. 
Pirate  King. 
Samuel,  his  lieutenant. 
Frederic,  the  pirate  apprentice. 
Sergeant  of  Police. 
Mabel,    \ 

Edith,     f  q^^^  Stanley's  daughters. 
Kate,       ' 


Isabel, 

Ruth,  a  pirate  maid  of  all  work. 
[Pirates,  police,  etc.] 
The  scene  is  laid  on  the  coast  of  Cornwall ;   time,  the  present. 

*'The  Pirates  of  Penzance"  has  a  local  interest 
from  the  fact  that  it  was  first  produced  in  New 
York  on  New  Year's  Eve,  December  31,  1879, 
under  the  immediate  supervision  of  both  Mr.  Sulli- 
van and  Mr.  Gilbert.  When  the  composer  left  Eng- 
land he  had  only  finished  the  second  act,  and  that 
was  without  orchestration.  After  his  arrival  here 
he  wrote  the  first  act  and  scored  the  entire  opera. 
By  this  performance  the  profits  of  the  representa- 
tions in  this  country  were  secured.  The  work  was 
not  published  until  after  their  return  to  England. 

At  the  opening  of  the  opera  it  is  disclosed  that 
Frederic,  when  a  boy,  in  pursuance  of  his  father's 


194        THE   STANDARD  LIGHT  OPERAS. 

orders,  was  to  have  been  apprenticed  to  a  pilot 
until  his  twenty-first  year,  but  by  the  mistake  of 
his  nurse-maid,  Ruth,  he  was  bound  out  to  one  of 
the  pirates  of  Penzance,  who  were  celebrated  for 
their  gentleness  and  never  molested  orphans  be- 
cause they  were  orphans  themselves.  In  the  first 
scene  the  pirates  are  making  merry,  as  Frederic 
has  reached  his  majority  and  is  about  to  leave 
them  and  seek  some  other  occupation.  Upon  the 
eve  of  departure  Ruth  requests  him  to  marry  her, 
and  he  consents,  as  he  has  never  seen  any  other 
woman,  but  shortly  afterwards  he  encounters  the 
daughters  of  General  Stanley,  falls  in  love  with 
Mabel,  the  youngest,  and  denounces  Ruth  as  a 
deceiver.  The  pirates  encounter  the  girls  about 
the  same  time,  and  propose  to  marry  them,  but 
when  the  General  arrives  and  announces  that  he 
is  an  orphan,  they  relent  and  allow  the  girls    to 

go- 

The  second  act  opens  in  the  General's  ancient 
baronial  hall,  and  reveals  him  surrounded  by  his 
daughters,  lamenting  that  he  has  deceived  the 
pirates  by  calling  himself  an  orphan.  Frederic 
appears,  and  bids  Mabel  farewell,  as  he  is  about  to 
lead  an  expedition  for  the  extermination  of  the 
pirates.  While  he  is  alone,  the  Pirate  King  and 
Ruth  visit  him  and  show  him  the  papers  which 
bound  him  to  them.  It  is  stated  in  them  that  he 
is  bound  "until  his  twenty-first  birthday,"  but  as 
his  birthday  is  the  29th  of  February,  he  has  had 
but    five.     Led   by  his   strong  sense   of   duty,  he 


THE  PIRATES  OF  PENZANCE.  195 

decides  that  he  will  go  back  to  his  old  associates. 
Then  he  tells  them  of  the  General's  orphan  story, 
which  so  enrages  them  that  they  swear  vengeance. 
They  come  by  night  to  carry  off  the  General,  but 
are  overpowered  by  the  police  and  sent  to  prison, 
where  they  confess  they  are  EngUsh  noblemen. 
Upon  promising  to  give  up  their  piratical  career, 
they  are  pardoned,  and  this  releases  Frederic. 

The  principal  numbers  in  the  first  act  are  Ruth's 
song,  "When  Frederic  was  a  Little  Lad";  the 
Pirate  King's  song,  "  Oh !  better  far  to  live 
and  die  "  ;  Frederic's  sentimental  song,  "  Oh  !  is 
there  not  one  Maiden  Breast "  ;  Mabel's  reply, 
"Poor  Wandering  One";  and  the  descriptive 
song  of  the  General,  "  I  am  the  very  Pattern  of  a 
Modern  Major-General,"  which  reminds  one  of 
Sir  Joseph's  song,  "  When  I  was  a  Lad  I  served  a 
Term,"  in  "  Pinafore,"  and  Wells'  song,  "  Oh  !  my 
Name  is  John  Wellington  Wells,"  in  "The  Sor- 
cerer." The  second  act  opens  with  a  chorus  of 
the  daughters  and  solo  by  Mabel,  "  Dear  Father, 
why  leave  your  Bed."  The  remaining  most  pop- 
ular numbers  are  the  Tarantara  of  the  Sergeant ; 
the  Pirate  King's  humorous  chant,  "For  some 
Ridiculous  Reason";  Mabel's  ballad,  "Oh,  leave 
me  not  to  pine,"  and  the  Sergeant's  irresistible  song, 
"  When  a  Fellow 's  not  engaged  in  his  Employ- 
ment," which  has  become  familiar  as  a  household 
word  by  frequent  quotation. 


196        THE  STANDARD   LIGHT  OPERAS. 


Patience ;  or,  ^ttnt|)orne'fi;  ^riUe. 

[Comic  opera,  in  two  acts  ;  text  by  Gilbert.  First  produced  at 
the  Opera  Comique,  London,  April  23,  188 1.] 

PERSONAGES. 

Col.  Calverley,  ^   officers 

Major  Murgatroyd,  (  of  Dragoon 

Lieutenant  the  Duke  of  Dunstable,  )  Guards. 

Reginald  Bunthorne,  a  fleshly  poet. 

Archibald  Grosvenor,  an  idyllic  poet. 

Mr.  Bunthorne's  Solicitor. 

Lady  Angela,  >^ 

Lady  Saphir,     f  . , 

LADY  Ella,         \  rapturous  maidens. 

Lady  Jane,        ^ 
Patience,  a  dairy-maid. 

[Guards,  aesthetic  maidens.] 

The  scene  is  laid  at  Castle  Bunthorne ;  time,  the  last  century. 

The  opera  of  "  Patience  "  is  a  pungent  satire 
upon  the  fleshly  school  of  poetry  as  represented  by 
Oscar  Wilde  and  his  imitators,  as  well  as  upon 
the  fad  for  aesthetic  culture  which  raged  so  vio- 
lently a  quarter  of  a  century  ago.  Bunthorne,  in 
one  of  his  soliloquies,  aptly  expresses  the  hollow- 
ness  of  the  sham,  — 

"  I  am  not  fond  of  uttering  platitudes 
In  stained-glass  attitudes  ; 
In  short,  my  mediaevalism's  affectation 
Bom  of  a  morbid  love  of  admiration." 

In   these   four  lines  Gilbert  pricked   the  aesthetic 
bubble,  and  nothing  did  so  much  to  end  the  fad  of 


PATIENCE.  197 

lank,  languorous  maidens,  and  long-haired,  sun- 
flowered  male  aesthetes,  as  Gilbert's  v/ell-directed 
shafts  of  ridicule  in  this  opera. 

The  story  of  the  opera  tells  of  the  struggle  for 
supremacy  over  female  hearts  between  an  aesthetic 
(Bunthorne)  and  an  idyllic  poet  (Grosvenor).  In 
the  opening  scene  lovesick  maidens  in  clinging 
gowns,  playing  mandolins,  sing  plaintively  of  their 
love  for  Bunthorne.  Patience,  a  healthy  milkmaid, 
comes  upon  the  scene,  and  makes  fun  of  them, 
and  asks  them  why  they  sit  and  sob  and  sigh.  She 
announces  to  them  that  the  Dragoon  Guards  will 
soon  arrive,  but  although  they  doted  upon  Dra- 
goons the  year  before  they  spurn  them  now  and  go 
to  the  door  of  Bunthorne  to  carol  to  him.  The 
Guards  duly  arrive,  and  are  hardly  settled  down 
when  Bunthorne  passes  by  in  the  act  of  composing 
a  poem,  followed  by  the  twenty  lovesick  maidens. 
After  finishing  his  poem  he  reads  it  to  them,  and 
they  go  off  together,  without  paying  any  attention 
to  the  Dragoons,  who  declare  they  have  been  in- 
sulted and  leave  in  a  rage.  Bunthorne,  when 
alone,  confesses  to  himself  he  is  a  sham,  and  at 
the  close  of  his  confession  Patience  comes  in. 
He  at  once  makes  love  to  her,  but  only  frightens 
her.  She  then  confers  with  Lady  Angela,  who 
explains  love  to  her,  and  tells  her  it  is  her  duty  to 
love  some  one.  Patience  declares  she  will  not  go 
to  bed  until  she  has  fallen  in  love  with  some  one, 
when  Grosvenor,  the  idyllic  poet  and  "  apostle  of 
simplicity,"  enters.     He  and   Patience  had   been 


198        THE  STANDARD  LIGHT  OPERAS. 

playmates  in  early  childhood,  and  she  promptly 
flills  in  love  with  him,  though  he  is  indifferent.  In 
the  closing  scene  Bunthorne,  twined  with  garlands, 
is  led  in  by  the  maidens,  and  puts  himself  up  as  a 
prize  in  a  lottery ;  but  the  drawing  is  interrupted 
by  Patience,  who  snatches  away  the  papers  and 
offers  herself  as  a  bride  to  Bunthorne,  who  promptly 
accepts  her.  The  maidens  then  make  advances 
to  the  Dragoons,  but  when  Grosvenor  appears  they 
all  declare  their  love  for  him.  Bunthorne  rec- 
ognizes him  as  a  dangerous  rival,  and  threatens 
*'  he  shall  meet  a  hideous  doom." 

The  opening  of  the  second  act  reveals  Jane,  an 
antique  charmer,  sitting  by  a  sheet  of  water 
mourning  because  the  fickle  maidens  have  deserted 
Bunthorne,  and  because  he  has  taken  up  with  "  a 
puling  milkmaid,"  while  she  alone  is  faithful  to 
him.  In  the  next  scene  Grosvenor  enters  with 
the  maidens,  of  whom  he  is  tired.  They  soon 
leave  him  in  low  spirits,  when  Patience  appears 
and  tells  him  she  loves  him,  but  can  never  be  his, 
for  it  is  her  duty  to  love  Bunthorne.  The  latter 
next  appears,  followed  by  the  antique  Jane,  who 
clings  to  him  in  spite  of  his  efforts  to  get  rid  of 
her.  He  accuses  Patience  of  loving  Grosvenor, 
and  goes  off  with  Jane  in  a  wildly  jealous  mood. 
In  the  next  scene  the  Dragoons,  to  win  favor  with 
the  maidens,  transform  themselves  into  a  group  of 
sesthetes.  Bunthorne  and  Grosvenor  finally  meet, 
and  Bunthorne  taxes  his  rival  with  monopolizing 
the    attentions   of  the    young   ladies.     Grosvenor 


I 


PATIENCE.  199 

replies  that  he  cannot  help  it,  but  would  be  glad 
of  any  suggestion  that  would  lead  to  his  being  less 
attractive.  Bunthorne  tells  him  he  must  change 
his  conversation,  cut  his  hair,  and  have  a  back 
parting,  and  wear  a  commonplace  costume.  Gros- 
venor  at  first  protests,  but  yields  when  threatened 
with  Bunthorne's  curse.  In  the  finale,  when  it  is 
discovered  that  Grosvenor  has  become  a  common- 
place young  man,  the  maidens  decide  that  if 
"Archibald  the  All-Right"  has  discarded  sesthet- 
icism,  it  is  right  for  them  to  do  so.  Patience  takes 
the  same  view  of  the  case,  and  leaves  Bunthorne 
for  Grosvenor.  The  maidens  find  suitors  among 
the  Dragoons,  and  even  the  antique  Jane  takes  up 
with  the  Duke,  and  Bunthorne  is  left  alone  with  his 
lily,  nobody's  bride. 

The  most  popular  musical  numbers  in  the  opera 
are  the  Colonel's  song,  "  If  you  want  a  Receipt 
for  that  Popular  Mystery";  Bunthorne's  "wild, 
weird,  fleshly"  song,  "What  Time  the  Poet  hath 
hymned,"  also  his  song,  "  If  you  're  anxious  for  to 
shine  " ;  the  romantic  duet  of  Patience  and  Gros- 
venor, "  Prithee,  Pretty  Maiden  "  ;  the  sextette, 
"  I  hear  the  Soft  Note  of  the  Echoing  Voice  " ; 
Jane's  song,  "  Silvered  is  the  Raven  Hair";  Pa- 
tience's ballad,  "  Love  is  a  Plaintive  Song  "  ;  Gros- 
venor's  fable  of  the  magnet  and  the  churn ; 
the  rollicking  duet  of  Bunthorne  and  Grosvenor, 
"  When  I  go  out  of  Door,"  and  the  "  prettily  pat- 
tering, cheerily  chattering  "  chorus  in,  the  finale  of 
the  last  act. 


200       THE  STANDARD  LIGHT  OPERAS. 


31cilantf)c;  or,  SE^e  Peer  antj  \\z  ^cri. 

[Comic  opera,  in  two  acts  ;  text  by  Gilbert.     First  produced  at 
the  Savoy  Theatre,  London,  November  25,  1882.] 

PERSONAGES. 

I,ORD  Chancellor. 
Earl  of  Mountararat. 
Earl  Tollaller. 

Private  Willis,  of  the  Grenadier  Guards. 
Strephon,  an  Arcadian  shepherd. 
loLANTHE,  a  fairy,  Strephon 's  mother. 
Queen  OF  the  fairies. 
Celia,  ^ 
Leila,  >  fairies. 
Fleta,  ) 

Ppiyllis,  an  Arcadian  shepherdess  and  ward  in  Chancery. 
[Dukes,  marquises,  earls,  viscounts,  barons,  and  fairies  ] 

The  scene  is  laid  in  Arcady  and  at  Westminster  ;  time,  between 
1700  and  1SS2. 


The  first  act  of  "  lolanthe  "  opens  in  Arcady. 
lolanthe,  a  fairy,  having  offended  her  Queen  by 
marrying  a  mortal,  has  been  banished  for  hfe  ;  but 
in  the  opening  scene,  after  twenty  years  of  exile, 
she  is  pardoned.  She  tells  the  Queen  of  her  mar- 
riage, and  her  son  Strephon,  half  a  fairy  and  half 
a  shepherd,  who  is  engaged  to  Phyllis,  a  shep- 
herdess, and  ward  in  Chancery.  At  this  point 
Strephon  enters,  and  informs  his  mother  that  the 
Lord  Chancellor  will  not  permit  him  to  marry 
Phyllis,  but  he  will  do  so  in  spite  of  him.  He 
curses  his  fairyhood,  but   the   Queen  says  she  has 


lOLANTHE,  201 

a  borough  at  her  disposal,  and  will  return  him  to 
Parliament  as  a  Liberal-Conservative.  In  the  next 
scene  Strephon  meets  Phyllis  and  pleads  against 
delay  in  marriage,  since  the  Lord  Chancellor  him- 
self may  marry  her,  and  many  of  the  lords  are 
attentive  to  her.  Meanwhile  the  lords  meet  to 
decide  which  one  of  them  shall  have  Phyllis,  the 
Lord  Chancellor  waiving  his  claim,  as  it  might  lay 
his  decision  open  to  misconstruction.  Phyllis  is 
summoned  before  them,  but  is  deaf  to  all  en- 
treaties, and  declares  she  is  in  love  with  Strephon, 
who  has  just  entered.  The  peers  march  out  in  a 
dignified  manner,  while  the  Lord  Chancellor  sepa- 
rates Phyllis  and  Strephon  and  orders  her  away. 
He  then  refuses  Strephon  his  suit,  whereupon  the 
latter  invokes  the  aid  of  his  fairy  mother,  who 
promises  to  lay  the  case  before  her  Queen.  In 
the  finale  the  peers  are  seen  leading  Phyllis,  who 
overhears  something  said  by  Strephon  and  lolan- 
the  which  induces  her  to  beheve  he  is  faithless, 
and  she  denounces  him.  He  replies  that  lolanthe 
is  his  mother,  but  cannot  convince  her.  She 
charges  him  with  deceit,  and  offers  her  hand  to 
any  one  of  the  peers.  He  then  appeals  to  the 
Queen,  who  threatens  vengeance  upon  the  peers  and 
declares  that  Strephon  shall  go  into  Parliament. 
The  peers  beg  her  for  mercy,  and  Phyllis  implores 
Strephon  to  relent,  but  he  casts  her  from  him. 

The  second  act  opens  at  Westminster.  Strephon 
is  in  Parliament  and  carrying  things  with  a  high 
hand.     Phyllis    is    engaged    to  two    of  the    lords 


202        THE  STANDARD  LIGHT  OPERAS. 

and  cannot  decide  between  them,  nor  can  they 
settle  the  matter  satisfactorily.  Whereupon  the 
Lord  Chancellor  decides  to  press  his  own  suit 
for  her  hand.  Strephon  finally  proves  his  birth 
to  Phyllis  and  explains  away  all  her  fears.  lolan- 
the  then  acknowledges  that  the  Lord  Chancellor 
is  her  husband  and  pleads  with  him  in  Strephon's 
behalf.  When  she  makes  this  confession,  she  is 
condemned  to  death  for  breaking  her  fairy  vow. 
Thereupon  all  the  fairies  confess  that  they  have 
married  peers.  As  it  is  impracticable  to  kill  them 
all,  the  Queen  hunts  up  a  husband,  and  finds  one 
in  Private  Willis,  the  sentry  in  the  palace  yard. 
All  the  husbands  join  the  fairies,  and  thus  matters 
are  straightened  out. 

The  music  of  "  lolanthe  "  is  peculiarly  refined 
and  fanciful,  and  abounds  in  taking  numbers.  The 
best  of  these  are  Strephon's  song,  "Good  Mor- 
row " ;  the  delightful  duet  between  Strephon  and 
Phyllis,  "  None  shall  part  us  from  each  other," 
one  of  the  most  felicitous  of  the  composer's 
lighter  compositions ;  the  Lord  Chancellor's  song, 
''  When  I  went  to  the  Bar  "  ;  Strephon's  charming 
ballad,  "  In  Babyhood  upon  her  Lap  I  lay " ; 
Private  Willis's  song,  "  When  all  Night  long  a 
Chap  remains " ;  the  patter  song  of  the  Lord 
Chancellor,  "  When  you  're  lying  awake  with  a 
Dismal  Headache " ;  the  duet  of  Strephon  and 
Phyllis,  **  If  we  're  weak  enough  to  tarry  "  ;  and 
lolanthe's  pretty  ballad,  "  He  loves  1  if  in  the  By- 
gone Years." 


PRINCESS  IDA.  203 


Princeas  Itja;  or,  (5:a2tle  ^Uamant. 

[Comic  opera,  in  three  acts  ;  text  by  Gilbert.  First  produced 
at  the  Savoy  Theatre,  London,  January  5,  1884.] 

PERSONAGES. 

King  PIildebrand. 
HiLARiON,  his  son. 

Cyril,       )  Hilarion's  friends. 
Florian,  ) 
King  Gama. 

AVAC,  \ 

GuRON,         >  Gama's  sons. 

SCYNTHIUS,  ) 

Princess  Ida,  Gama's  daughter. 

Lady  Blanche,  Professor  of  Abstract  Science. 

Lady  Psyche,  Professor  of  Humanities. 

Melissa,  Lady  Blanche's  daughter. 

Sacharissa,  ^ 

Chloe,  \  girl  graduates. 

Ada,  ) 

[Soldiers,  courtiers,  girl  graduates,  "daughters  of  the 
plough,"  etc.] 

The  scene  is  laid  at  King  Hildebrand's  palace  and  Castle  Ada- 
mant ;  time,  the  present. 

"Princess  Ida"  is  the  least  effective  of  the  Sul- 
livan operas.  Its  libretto  is  also  the  least  effective 
of  the  Gilbert  stories  set  to  the  former's  music. 
At  the  time  it  was  written  the  composer  was  de- 
pressed by  a  severe  family  affliction,  and  at  the 
same  time  had  met  the  misfortune  of  losing  all  his 
savings  through  the  failure  of  those  to  whom  he 
had  intrusted  them.     It  may  have  been  also  that 


204        THE  STANDARD  LIGHT  OPERAS. 

the  labored  and  heavy  style  of  the  story  had  some- 
thing to  do  with  the  dry  and  somewhat  forced 
style  of  the  music,  as  well  as  its  lack  of  the  bright- 
ness and  fancy  which  are  so  apparent  in  "  Pina- 
fore "  and  '•'■  Patience." 

The  first  act  opens  at  King  Hildebrand's  palace, 
where  the  courtiers  are  watching  for  the  arrival  of 
King  Gama  and  his  daughter,  the  Princess  Ida, 
who  has  been  promised  in  marriage  to  Hilarion, 
Hildebrand's  son.  When  Gama  finally  comes,  Ida 
is  not  with  him,  and  he  explains  to  the  enraged 
Hildebrand  that  she  is  at  Castle  Adamant,  one  of 
his  country  houses,  where  she  is  president  of  a 
woman's  university.  Gama  and  his  three  sons, 
Avac,  Guron,  and  Scynthius,  are  seized  and  held  as 
hostages  for  her  appearance,  and  in  the  mean  time 
Hilarion,  and  his  two  friends,  Cyril  and  Florian, 
determine  to  go  to  Castle  Adamant  and  see  if  they 
cannot  make  some  impression  upon  the  Princess. 

The  second  act  opens  at  Castle  Adamant,  and 
discloses  the  pupils  of  the  university  in  discourse 
with  Lady  Psyche,  the  Professor  of  Humanities, 
and  Lady  Blanche,  Professor  of  Abstract  Science, 
who  is  ambitious  to  get  control  of  the  institution. 
Hilarion  and  his  two  friends  scale  the  wall  and 
get  into  the  grounds,  and  finding  some  academic 
robes  they  disguise  themselves  as  girls.  They 
first  meet  the  Princess  and  explain  to  her  that 
they  wish  to  enter  the  university,  to  which  she 
gives  her  consent  upon  their  subscription  to  the 
rules.       They    sign     with     enthusiasm,    especially 


PRINCESS  IDA.  205 

when  they  discover  that  there  is  one  which  re- 
quires them  to  give  the  fulness  of  their  love  to 
the  hundred  maidens  of  the  university.  Shortly 
afterwards  they  encounter  Lady  Psyche,  who 
recognizes  Florian  as  her  brother.  They  tell 
their  secret  to  her.  Melissa,  the  daughter  of  Lady 
Blanche,  overhears  them,  and  is  in  raptures  at  her 
first  sight  of  men.  She  discloses  to  her  mother 
what  she  has  discovered,  but  urges  her  not  to 
speak  of  it,  for  if  Hilarion  is  successful  in  his  suit 
she  (the  Lady  Blanche)  may  succeed  to  the  presi- 
dency. At  the  luncheon,  however,  the  Princess 
discovers  she  is  entertaining  three  men  and  flees 
from  the  spot.  In  crossing  a  bridge  she  falls 
into  the  river,  but  is  rescued  by  Hilarion.  Her 
anger  is  not  appeased  by  his  gallantry,  and  she 
orders  the  arrest  of  the  three.  As  they  are 
marched  off,  there  is  a  tumult  outside.  Hil- 
debrand,  with  an  armed  force  and  with  his  four 
hostages,  has  arrived,  and  gives  the  Princess  until 
the  morrow  afternoon  to  release  Hilarion  and 
become  his  bride. 

The  last  act  opens  with  the  preparations  of  the 
Princess  and  her  pupils  to  defend  themselves,  but 
one  after  the  other  their  courage  deserts  them. 
Gama  proposes  that  his  three  sons  shall  be  pitted 
against  Hilarion  and  his  two  friends,  and  if  the 
latter  are  defeated  the  Princess  shall  be  free.  In 
the  contest  Gama's  sons  are  defeated,  whereupon 
the  Princess  at  once  resigns  and  accepts  Hilarion. 
The  Lady  Psj^che  falls  to  Cyril,  and  the  delighted 


2o6        THE  STANDARD  LIGHT  OPERAS. 

Melissa  to  Florian,  and  it  is  to  be  presumed  the 
presidency  of  the  Woman's  College  falls  to  Lady 
Blanche. 

As  has  already  been  intimated,  the  music  as  a 
whole  is  labored,  but  there  are  some  numbers 
that  are  fully  up  to  the  Sullivan  standard ;  among 
them  Hilarion's  ballad,  "Ida  was  a  twelvemonth 
old  "  ;  Gama's  characteristic  song,  "  If  you  give 
me  your  Attention,"  and  the  trio  of  Gama's 
sons,  "  For  a  Month  to  dwell,"  in  the  first  act : 
the  Princess's  long  aria,  "  At  this  my  Call "  ;  Lady 
Blanche's  song,  "  Come,  Mighty  Must "  j  Lady 
Psyche's  sarcastic  evolution  song,  '^  A  Lady  Fair 
of  Lineage  High " ;  Cyril's  song,  "  Would  you 
know  the  Kind  of  Maid  "  ;  and  Hilarion's  song, 
"  Whom  thou  hast  chained  must  wear  his  Chain," 
in  the  second  act :  and  the  Princess's  song,  "  I 
built  upon  a  Rock  "  ;  Gama's  song,  "  Whene'er 
I  spoke  Sarcastic  Joke  " ;  the  soldiers'  chorus, 
"  When  Anger  spreads  his  Wing  "  ;  and  the  finale, 
"  With  Joy  abiding,"  in  the  third  act. 


CI)e  iHikalio ;  or,  W^t  Coton  of  eTitiptt. 

[Comic  opera,  in  two  acts  ;  text  by  Gilbert.      First  produced  at 
tlie  Savoy  Theatre,  London,  March  14,  1SS5.] 

PERSONAGES. 
Mikado  of  Japan. 
Nanki-Poo,  his  son,  disguised  as  a  minstrel,  in  love  with 

YUM-YUM. 

Ko-Ko,  Lord  High  Executioner  of  Titipu, 


THE  MIKADO.  207 

Pooh-Bah,  Lord  High  Everything  Else. 
PiSH-TusH,  a  noble  lord. 
YUM-YUM,     ) 

PiTTi-SiNG,  \  three  sisters,  wards  of  Ko-Ko. 
Peep-Bo,       * 

Katisha,  an  elderly  lady,  in  love  with  Nanki-Poo. 
[School  girls,  nobles,  guards,  and  coolies.] 

The  scene  is  laid  in  Japan  ;  time,  the  present. 

That  the  "  Princess  Ida,"  ineffective  as  it  is  in 
some  respects,  did  not  indicate  that  the  resources 
of  Gilbert  and  Sullivan  were  exhausted,  is  shown 
by  the  great  success  of  both  in  "  The  Mikado," 
which  immediately  followed  it.  This  charming 
travesty  of  Japan,  with  the  exception  perhaps  of 
"  Pinafore,"  has  proved  to  be  the  most  popular  of 
the  Sullivan  operas,  and  has  even  made  an  impres- 
sion in  Germany.  It  has  been  an  equal  success 
for  both  the  musician  and  the  librettist,  and  still 
retains  its  freshness  and  vivacity  after  seventeen 
years  of  performance. 

The  story  of  *'The  Mikado"  is  so  well  known 
that  it  need  not  be  given  with  much  fulness  of 
detail.  Nanki-Poo,  the  Mikado's  son,  is  in  love 
with  Yum-Yum,  the  ward  of  the  tailor  Ko-Ko, 
who  is  also  Lord  High  Executioner,  and  to  whom 
she  is  betrothed,  as  Nanki-Poo  is  informed  by 
Pooh-Bah,  when  he  comes  to  Titipu  in  quest  of 
her.  Pooh-Bah,  who  accepted  all  the  offices  of 
the  Ministers  of  State  after  their  resignations  when 
Ko-Ko  was  made  Lord  High  Executioner,  is  also 
"  the  retailer  of  state  secrets  at  a  low  figure,"  and 


2o8   THE  STANDARD  LIGHT  OPERAS, 

furnishes  much  of  the  delightful  comedy  of  the 
opera.  Nanki-Poo  nevertheless  manages  to  secure 
an  interview  with  Yum- Yum,  confesses  to  her  he 
is  the  Mikado's  son,  and  that  he  is  in  disguise  to 
escape  punishment  for  not  marrying  the  elderly 
Katisha.  Ko-Ko's  matrimonial  arrangements  are 
interfered  with  by  a  message  from  the  Mikado, 
that  unless  some  one  is  beheaded  in  Titipu  within 
a  month  he  will  be  degraded.  Nanki-Poo  con- 
sents to  be  beheaded  if  he  is  allowed  to  marry 
Yum-Yum  and  live  with  her  for  the  month. 
This  being  satisfactory,  the  arrangements  for  the 
nuptials  are  made. 

The  second  act  opens  with  Yum-Yum's  prepara- 
tions for  her  marriage.  A  tete-a-tete  with  Nanki- 
Poo  is  interrupted  by  Ko-Ko,  who  announces  that 
by  the  law  when  a  married  man  is  beheaded  his 
wife  must  be  burned  alive.  This  cools  Yum-Yum's 
passion,  and  to  save  her  Nanki-Poo  threatens  to 
perform  the  Happy  Despatch  that  day.  As  this 
would  endanger  Ko-Ko,  he  arranges  to  swear  to  a 
false  statement  of  Nanki-Poo's  execution.  Sud- 
denly the  Mikado  arrives.  Ko-Ko  gives  him  the 
statement,  but  a  great  danger  is  imminent  when 
the  Mikado  informs  him  he  has  killed  the  heir 
apparent  and  must  suffer  some  horrible  pun- 
ishment. In  the  denouement  Nanki-Poo  reap- 
pears, and  Ko-Ko  gets  out  of  trouble  by  marrying 
the  ancient  Katisha,  leaving  Yum-Yum  to  Nanki- 
Poo. 

The  opera  abounds  in  charming  lyrics,  though 


RUDDYGORE.  209 

with  a  single  exception,  a  march  chorus  in  the 
second  act,  *'  Miya  sama,  miya  sama,"  there  is  no 
local  color  to  the  music,  as  might  have  been  ex- 
pected in  an  opera  entirely  Japanese  in  its  subject 
and  dramatic  treatment.  Its  lyrics  are  none  the 
less  delightful  on  that  account.  The  most  popular 
numbers  in  the  first  act  are  Ko-Ko's  song,  with 
its  choral  response,  "You  may  put  'em  on  the 
List  and  they  never  will  be  missed  "  ;  the  fascinat- 
ing trio  for  Yum- Yum,  Peep-Bo,  and  Pitti-Sing, 
"  Three  Little  Maids  from  School  are  we  "  ;  Nanki- 
Poo's  song,  '*  A  Wandering  Minstrel  "  ;  and  the  trio 
for  Ko-Ko,  Pooh-Bah,  and  Pish-Tush,  "  My  Brain, 
it  teems."  The  leading  numbers  of  the  second 
act  are  Yum-Yum's  song,  "  The  Sun,  whose  Rays  "  ; 
the  quartette,  "  Brightly  dawns  our  Wedding-Day  "  ; 
the  Mikado's  song,  "  A  more  Humane  Mikado 
never  "  ;  Ko-Ko's  romantic  ballad,  "  On  a  Tree 
by  a  River  a  little  Tomtit,"  which  is  in  the 
genuine  old  English  manner,  and  the  well-known 
duet  for  Nanki-Poo  and  Ko-Ko,  "  The  Flowers 
that  bloom  in  the  Spring,  tra  la." 

EttUtipffnre;  or,  Ws^z  5Mitc!)'fij  Curer. 

[Comic  opera,  in  two  acts ;  text  by  Gilbert.     First  produced  at 
the  Savoy  Theatre,  London,  January  22,  18S7.] 

PERSONAGES. 

Robin  Oakapple,  a  young  farmer. 

Richard  Dauntless,  his  foster  brother  and  man-o'-war's 
man. 

14 


2 TO       THE  STANDARD   LIGHT  OPERAS. 

Sir  Despard  Murgatroyd,  the  wicked  Baronet. 

Old  Adam  Goodheart,  Robin's  faithful  servant. 

Rose  Maybud,  a  village  maiden. 

Mad  Margaret. 

Dame  Hannah,  Rose's  aunt. 

RiTTH  '  \  professional  bridesmaids. 
Six  Murgatroyd  Ghosts. 

Sir  Roderic  Murgatroyd,  twenty-first  Baronet. 
[Officers,  ancestors,  and  professional  bridesmaids.] 

The  scene  is  laid  in  Cornwall ;  time,  early  in  the  last  century. 

Although  *^  Ruddygore,"  a  satire  upon  the  old 
English  melodramas,  has  not  been  as  successful  as 
some  of  the  other  Sullivan  operas,  it  is  as  enter- 
taining as  any  in  the  series,  while  the  story,  with 
its  grotesque  dramatic  features,  is  peculiarly  Gil- 
bertian  in  its  humor.  The  first  act  opens  in 
Cornwall.  Sir  Rupert  Murgatroyd,  the  first  of  the 
baronets,  employed  his  leisure  in  persecuting 
witches  and  committing  other  crimes.  The  chorus 
of  <*  the  legend,"  sung  by  Hannah,  an  old  spin- 
ster, prophesies  that  each  Murgatroyd  will  die 
"  with  sinning  cloyed."  To  avoid  this  fate,  the 
last  inheritor  of  the  title.  Sir  Ruthven,  secludes 
himself  under  the  name  of  Robin  Oakapple,  in 
the  Cornish  village  of  Rederring,  and  his  younger 
brother,  Despard,  believing  him  to  be  dead,  suc- 
ceeds to  the  title.  Robin,  who  is  shy  and  modest, 
is  in  love  with  Rose,  a  foundling,  who  is  very  dis- 
creet. The  love-making  lags,  and  meanwhile 
Richard,  his  foster  brother,  a  man-o'-war's  man, 
returns  from  sea,  and  so  commiserates  Robin  that 


RUDDYGORE.  21 1 

he  offers  to  plead  his  case  with  Rose.  Instead  of 
that  he  pleads  his  own  case,  and  is  accepted  by 
her,  much  to  the  disappointment  of  Robin,  who 
supports  Richard's  claim,  however.  Robin's 
younger  brother.  Sir  Despard,  next  appears,  and 
hears  from  Richard  of  the  existence  of  the  brother 
whom  he  had  thought  dead.  He  thereupon  claims 
Robin  as  his  elder  brother,  and  Rose  shows  her 
preference  for  Sir  Despard,  who  is  also  claimed  by 
Mad  Margaret,  a  village  maiden,  whom  he  had 
mistreated  when  he  was  under  the  influence  of  the 
Murgatroyd  curse. 

The  second  act  opens  in  the  picture  gallery  of 
Ruddygore  Castle.  Robin  and  Adam,  his  fliithful 
servant,  are  in  the  gallery,  the  former  as  Sir  Ruth- 
ven,  and  Adam  as  Gideon  Crawle,  a  new  name  he 
has  taken.  The  new  Sir  Ruthven  is  under  the 
curse,  and  asks  his  servant  to  suggest  some  daily 
crime  for  him  to  commit.  The  strong  scene  of 
the  act  is  the  coming  to  life  of  the  various  baro- 
nets whose  portraits  hang  upon  the  walls,  and 
their  announcement  that  Robin  will  die  in  fearful 
agony  unless  he  abducts  some  lady,  it  matters  not 
whom.  In  the  denouement  it  is  revealed  that  a 
Ruddygore  baron  can  only  die  through  refusing  to 
commit  the  daily  crime,  but  that  such  a  refusal  is 
tantamount  to  suicide.  Hence  none  of  the  ances- 
tors ought  to  have  died  at  all,  and  they  come  back 
to  life  greatly  to  the  delight  of  the  professional 
bridesmaids,  and  Rose  and  Robin  are  at  last 
united. 


212        THE  STANDARD   LIGHT  OPERAS. 

The  principal  numbers  in  the  first  act  are  the 
weird  legend,  ''Sir  Rupert  Murgatroyd,  his  Leis- 
ure and  his  Riches,"  sung  by  Hannah  ;  Richard's 
breezy  sea  song,  ''  I  shipped,  d'  ye  see,  in  a 
Revenue  Sloop " ;  the  very  tuneful  chorus  of 
the  bridesmaids,  "  Hail  the  Bridegroom,  hail 
the  Bride " ;  Mad  Margaret's  whimsical  song, 
"Cheerily  carols  the  Lark";  the  melodious 
chorus  of  the  bucks  and  blades,  "When  thor- 
oughly tired  of  being  admired  "  ;  Sir  Despard's 
song,  with  its  alternating  choral  refrains,  "  Oh, 
why  am  I  moody  and  sad  " ;  the  madrigal, 
"Where  the  Buds  are  blossoming,"  written  in 
the  early  English  style,  and  supported  by  the 
chorus;  and  the  charming  gavotte  leading  to 
the  finale,  which  contains  some  admirable  duet 
and  trio  numbers.  The  leading  numbers  of  the 
second  act  are  the  opening  duet  for  Robin 
and  Adam,  "  I  once  was  as  meek  as  a  New-born 
Lamb,"  with  a  most  melodramatic  "  Ha  ha," 
followed  by  another  charming  duet  for  Richard 
and  Rose,  with  choral  refrain,  "  Happily  coupled 
are  we  "  ;  the  weird  song  of  Sir  Roderic,  "  When 
the  Night  Wind  howls  in  the  Chimney  Cowls," 
which  is  finely  artistic  in  construction  ;  the  patter 
trio  for  Robin,  Despard,  and  Margaret,  "  My  Eyes 
are  fully  open  to  my  Awful  Situation  "  ;  Hannah's 
pretty  ballad,  "  There  grew  a  Little  Flower"  ;  and 
the  brilliant  finale,  beginning  with  Robin's  num- 
ber, "  Having  been  a  Wicked  Baronet  a  Week." 


THE    YEOMEN  OF   THE    GUARD.        213 


Cjjc  geomcn  of  tbe  (SuarU;  or,  Cbc  iHcrrp 
;pan  anK  I) is  J^aiti. 

[Comic  opera,  in  two  acts;  text  by  Gilbert.  First  produced 
at  the  Savoy  Theatre,  October  3,  1888.] 

PERSONAGES. 

Sir  Richard  Cholmondeley,  lieutenant  of  the  Tower. 

Col.  Fairfax,  under  sentence  of  death. 

Sergt.  Meryll,  of  the  Yeomen  of  the  Guard. 

Leonard  Meryll,  his  son. 

Jack  Point,  a  strolling  jester. 

Wilfred  Shadbolt,  head  jailer  of  the  Tower. 

Headsman. 

Elsie  Maynard,  a  strolling  singer. 

Phcebe  Meryll,  Sergt.  Meryll's  daughter. 

Dame  Carruthers,  housekeeper  to  the  Tower. 

Kate,  her  niece. 

[Yeomen  of  the  guard,  gentlemen,  citizens,  etc.] 

The  scene  is  laid  at  Tower  Green,  London  ;  time,  the  sixteenth 
century. 

Although  "The  Yeomen  of  the  Guard  "  has  not 
enjoyed  the  popularity  of  some  others  of  SulHvan's 
works,  the  composer  himself  believed  it  to  be 
the  best  of  his  operas.  The  music  is  in  some 
numbers  a  parody  of  the  old  English ;  the  story 
is  melodramatic.  Colonel  Fairfax  has  been  sen- 
tenced to  death  for  sorcery.  As  he  has  twice 
saved  the  life  of  Sergeant  Meryll  in  battle, 
the  latter  and  his  daughter,  Phoebe,  are  anxious 
to  save  him  also.  The  chance  comes  when  the 
brother   of  Phcebe,  who   has   been   appointed  a 


214        THE  STANDARD   LIGHT  OPERAS. 

yeoman  of  the  Guard,  is  induced  to  let  Fairfax 
take  his  place  in  the  ranks.  The  latter  is  brought 
in  to  the  Heutenant  of  the  Tower  and  declares  his 
readiness  to  die,  but  asks,  as  he  has  been  con- 
demned for  sorcery  through  the  machinations 
of  one  of  his  kinsmen  who  will  succeed  to  the 
estate  in  case  he  dies  unmarried,  that  he  will  find 
him  some  one  whom  he  can  marry  at  once.  Elsie 
Maynard,  a  strolling  singer,  happens  along  with 
Jack  Point,  a  jester,  and  she  agrees  for  a  money 
consideration  to  be  married  blindfolded  to  Fair- 
fax, provided  she  can  leave  immediately  after 
the  ceremony.  She  marries  him,  and  then  the 
question  arises  how  to  get  the  yeoman  suit  to 
Fairfax  in  his  cell  and  let  him  escape,  as  the 
keys  are  in  the  possession  of  Wilfred,  the  head 
jailer,  who  is  in  love  with  Phoebe.  The  problem 
is  solved  by  Phoebe,  who  steals  the  keys,  releases 
Fairfax,  and  returns  them  before  Wilfred  dis- 
covers their  absence.  The  executioner  comes 
forward,  and  the  first  act  closes  as  he  is  wait- 
ing for  his  victim. 

The  second  act  discloses  the  civilians  and 
Dame  Carruthers  denouncing  the  warders  for  per- 
mitting their  prisoner  to  escape.  Point  arranges 
with  Wilfred  that  if  he  will  discharge  his  arquebus 
and  state  that  he  has  killed  Fairfax  he  shall 
be  a  jester.  When  the  shot  is  heard,  Wilfred 
and  Point  notify  the  governor  that  Fairfax  is 
dead.  Dame  Carruthers  enters  and  informs 
Meryll  that  from  what  she  has  heard  Elsie  raut- 


THE    YEOMEN  OF   THE   GUARD.        215 

ter  in  her  sleep  she  is  sure  Fairfax  is  the  man 
she  married.  Fairfax,  in  order  to  test  her, 
makes  love  to  Elsie  in  Point's  interests,  but  ends 
by  falling  in  love  with  her  himself.  In  the  de- 
nouement, Leonard,  son  of  Sergeant  Meryll,  ar- 
rives with  a  pardon  which  had  been  kept  back 
by  Fairfax's  kinsmen.  Now  that  he  is  free, 
Fairfax  claims  Elsie,  Phoebe  consents  to  marry 
Wilfred,  and  the  sergeant  surrenders  to  Dame 
Carruthers. 

The  music  is  in  humorous  imitation  of  the 
antique,  in  which  kind  of  work  Sullivan  is  always 
happy.  The  choruses  are  interesting,  especially 
the  opening  double  one,  "Tower  Warders  under 
Orders,"  which  is  swinging  and  tuneful.  The 
principal  numbers  in  the  first  act  are  Dame 
Carruthers'  song  with  chorus,  "  When  our  Gallant 
Norman  Foes  "  ;  Fairfax's  sentimental  song,  "  Is 
Life  a  Boon  "  ;  the  irresistibly  funny  chorus,  both 
in  music  and  words,  "  Here  's  a  Man  of  Jollity,  jibe, 
joke,  jolhfy ;  give  us  of  your  Quality,  come,  Fool, 
foUify " ;  the  extremely  melodramatic  duet  for 
Elsie  and  Point,  "  I  have  a  Song  to  sing  "  ;  Point's 
recitative  and  song,  "  I  've  Jest  and  Joke  " ; 
Elsie's  pretty  ballad,  *'  'T  is  done !  I  am  a  Bride  "  ; 
Phoebe's  graceful  song,  "  Were  I  thy  Bride  "  ;  and 
the  trio  in  the  finale,  "To  thy  Fraternal  Care." 
The  leading  numbers  of  the  second  act  are  Point's 
rollicking  song,  "  Oh  !  a  Private  Buffoon  is  a  Light- 
hearted  Loon  "  ;  Fairfax's  ballad,  "  Free  from  his 
Fetters  Grim  "  ;   the   quartette,   "  Strange  Adven- 


2i6        THE  STANDARD  LIGHT  OPERAS. 

ture  !  Maiden  wedded  "  ;  the  trio,  ''  If  he  's  made 
the  Best  Use  of  his  Time,"  and  the  quartette, 
*'  When  a  Wooer  goes  a-wooing,"  which  leads 
through  a  melodramatic  ensemble    to  the  finale, 

"  Heighdy  I  heighdy  ! 
Misery  me,  lackadaydee  ! 
He  sipped  no  sup  and  he  craved  no  crumb, 
As  he  sighed  for  the  love  of  a  ladyee." 


Clje  (0onUoIterfi ;  or,  Clje  j^ing;  of  iSarataria. 

[Comic  opera,  in  two  acts  ;  text  by  Gilbert.  First  produced  at 
the  Savoy  Theatre,  London,  December  7,  1889.] 

PERSONAGES. 

Duke  of  Plaza-Toro,  a  grandee  of  Spain. 

Luiz,  his  attendant. 

Don  Alhambra  del  Bolero,  the  Grand  Inquisitor. 

Duchess  of  Plaza-Toro. 

Casilda,  her  daughter. 

[Gondoliers,  contadine,  men-at-arms,  heralds,  and  pages.] 

The  scene  is  laid  in  Venice  ;  time,  the  year  1750. 

"The  Gondoliers"  will  always  bring  a  feeling 
of  regret  to  the  admirers  of  the  Gilbert  and  Sul- 
livan operas,  as  it  was  their  last  joint  production. 
It  was  during  its  run  at  the  London  theatre  that 
their  partnership  was  dissolved  after  the  extraor- 
dinary collaboration  of  twenty-three  years.  Both 
were  at  their  best  in  their  Swan  Song.  "  The  Gon- 
doliers "  is  not  so  much  melodrama  or  pleasant 
satire  as  it  is  genuine  comedy.      Among  all  the 


THE    GONDOLIERS.  217 

Gilbert  books  which  he  furnished  the  composer, 
none  is  more  dehghtful  or  more  full  of  his  rollick- 
ing humor  than  this.  The  story  opens  in  Venice. 
The  contadine  are  weaving  garlands  for  the  two 
favorite  gondoliers,  Marco  and  Giuseppe,  who,  as 
they  have  no  preference,  make  their  choice  blind- 
folded, and  secure  Tessa  and  Gianetta  for  their 
brides.  As  all  gayly  dance  oif,  a  gondola  arrives 
with  the  Spanish  Duke  of  Plaza-Toro,  the  Duchess, 
their  daughter  Casilda,  and  Luiz,  their  attendant. 
While  waiting  for  an  audience  with  the  Grand  In- 
quisitor, the  Duke  tells  Casilda  the  object  of  their 
visit.  When  she  was  an  infant  she  was  married  by 
proxy  to  the  infant  son  of  the  King  of  Barataria. 
When  the  latter  abandoned  the  creed  of  his  fathers 
and  became  a  Methodist,  the  Inquisitor  had  the 
young  husband  stolen  and  taken  to  Venice.  Now 
that  the  King  is  dead,  they  have  come  to  find  the 
husband,  and  proclaim  Casilda  queen.  During  the 
audience  the  Inquisitor  announces  that  the  hus- 
band is  a  gondolier,  and  that  the  person  who  brought 
him  up  had  "  such  a  terrible  taste  for  tippling  " 
that  he  was  never  certain  which  child  had  been 
intrusted  to  him,  his  own  or  the  other.  The  nurse, 
however,  who  is  Luiz's  mother,  would  know,  and 
he  would  induce  her  to  tell  in  the  torture  cham- 
ber. Shortly  afterwards  the  Inquisitor  meets  the 
newly  wedded  gondoliers,  Marco  and  Giuseppe, 
and  decides  that  one  or  the  other  of  them  is  the 
new  King,  but  as  he  cannot  tell  which,  he  arranges 
that  both  of  them  shall  rule  until  the  nurse  can  be 


2l8        THE  STANDARD   LIGHT  OPERAS. 

found  and  made  to  settle  the  matter.  Thereupon 
they  bid  their  wives  good-by,  and  sail  away  for 
Barataria. 

The  second  act  discloses  the  two  Kings  upon 
the  thrones.  While  they  are  cleaning  the  crown 
and  sceptre,  and  their  friends,  the  gondoliers,  are 
playing  cards,  contadine  arrive  with  Tessa  and 
Gianetta.  The  dehghted  Kings  give  them  a  grand 
banquet  and  ball,  but  the  dance  is  interrupted  by 
the  Inquisitor,  who  informs  them  that  the  ducal 
party  will  shortly  arrive,  and  that  Casilda  will 
claim  one  of  them  for  her  husband.  When  Tessa 
and  Gianetta  reaUze  that  neither  of  them  can  be 
Queen,  they  begin  to  weep,  but  are  somewhat  com- 
forted when  the  Inquisitor  assures  them  they  will 
not  be  kept  long  in  suspense  as  the  foster-mother 
is  in  the  torture  chamber.  In  the  denouement 
she  confesses  that  the  late  King  intrusted  the 
Prince  to  her,  and  when  traitors  came  to  steal 
him  she  substituted  her  own  son  and  kept  the 
Prince  in  hiding,  and  that  Luiz  is  the  real  Prince. 
Thereupon  Luiz  ascends  the  throne  with  Casilda 
as  his  queen,  and  Marco  and  Guiseppe  sail  joy- 
fully back  to  Venice  with  Tessa  and  Gianetta. 

The  music  is  of  Sullivan's  best.  He  has  repro- 
duced in  the  score  the  old  Italian  forms,  employs 
the  legitimate  modern  ballad  and  song  styles, 
and  introduces  also  the  "  patter  "  songs  and  the 
"  chant "  songs  which  are  so  common  in  his  other 
operas.  Besides  this,  he  has  given  strong  local 
color   with    fandangoes,   boleros,   cachucas,    and 


THE   GONDOLIERS.  219 

Other  dance  rhythms.  The  best  numbers  are 
the  ensemble  for  Marco  and  Giuseppe,  "  We  're 
called  Gondolieri " ;  the  pompous  song  of  the 
Duke,  'an  Enterprise  of  Martial  Kind";  the 
serious  duet  for  Casilda  and  Luiz,  "There  was 
a  Time";  the  Inquisitor's  song,  ''I  stab  the 
Prince";  Tessa's  beautiful  song,  ''When  a  Merry 
Maiden  marries"  ;  the  frolicsome  quartette,  ''  Then 
one  of  us  will  be  a  Queen"  ;  the  song  of  Marco  with 
chorus,  "  For  every  one  who  feels  inclined  "  ;  the 
characteristic  song  of  Giuseppe,  "  Rising  early  in 
the  Morning  "  ;  the  gay  and  fascinating  ensemble, 
"  We  will  dance  a  Cachuca,"  with  the  brilliant 
dance  music  that  follows  it ;  the  song  of  the  In- 
quisitor, "  There  lived  a  King "  ;  the  ensemble, 
"  In  a  Contemplative  Fashion,"  a  quiet  movement 
with  alternating  comments  by  chorus,  reaching  a 
crescendo  and  then  returning  to  the  original 
movement,  one  of  the  most  effective  numbers  in 
the  opera ;  the  Duchess'  song,  "  On  the  Day  when 
I  was  Wedded  "  ;  and  the  quintette  in  the  finale, 
"  I  am  a  Courtier  Grave  and  Serious." 


SUPPE,   FRANZ  VON. 
jjatinit|a. 

[Opera  comique,  in  three  acts  ;  text  by  Zell  and  Genee.     Inrst 
produced  in  Vienna,  January  5,  1876.] 

PERSONAGES. 

Count  Timofey  Gavrilovich  Kantschakoff,  Russian 

General. 
Princess  Lydia  Imanovna,  his  niece. 
IzzET  Pasha,  governor  of  Rustchuk  fortress. 
Capt.  Vasil  Staravieff. 
Lieut.  Ossipp  Safonoff. 
Steipann,  a  sergeant. 

Vladimir  Samoiloff,  lieutenant  of  cavalry. 
Julian,  special  war  correspondent. 
Hassan  Bey,  leader  of  Eashi-Bazouks. 
Mustapha,  guardian  of  the  harem. 
VuiKA,  a  Bulgarian. 
Hanna,  his  wife. 

[Soldiers,   Bashi-Bazouks,   Cossacks,   slaves,    moujiks, 
etc.] 

The  scene  is  laid  at  Rustchuk  and  near  Odessa  ;  time,  the  last 

century. 

FRANZ  VON  SUPPfe  has  been  styled  the 
German  Offenbach,  though  the  styles  of 
the  two  composers  differ  widely.  His  operas  are 
more  purely  comic  operas,  or  operettas,  than 
burlesques.  He  made  his  first  success  with  an 
operetta,   "  Das    Madchen   vom    Lande "  ("  The 


FATINITZA.  221 

Country  Girl"),  produced  in  Vienna  in  1847, 
and  his  next  work,  a  musical  comedy  called 
**  Paragraph  3,"  made  him  known  all  over  Ger- 
many. His  entire  list  of  light  operas,  musical 
farces,  and  vaudevilles  includes  over  one  hundred 
and  sixty  titles,  but  of  these  only  two  or  three  are 
well  known  in  this  country.  "  Fatinitza  "  is  the 
best  known,  and  is  universally  popular. 

The  story  is  an  interesting  one.  Vladimir 
Samoiloff,  a  young  lieutenant  in  the  Russian  army, 
while  masquerading  in  girl's  costume  under  the 
name  of  Fatinitza,  encounters  a  Russian  general, 
Count  Timofey  Kantschakoff,  who  falls  desperately 
in  love  with  him.  He  manages  to  escape  from 
him,  and  subsequently  meets  the  General's  niece, 
the  Princess  Lydia,  whom  he  knows  only  as  Lydia, 
and  the  two  fall  in  love.  Hearing  of  the  attach- 
ment, the  General  transfers  the  young  officer  to 
the  Russian  outposts.  The  first  act  opens  in 
camp  at  Rustchuk.  Julian,  a  war  correspondent, 
has  just  been  brought  in  as  a  spy,  but  is  recognized 
by  Vladimir  as  an  old  friend.  They  plan  private 
theatricals,  in  which  Vladimir  takes  a  female  part. 
The  General  unexpectedly  appears  at  the  play,  and 
recognizes  Vladimir  as  his  Fatinitza.  When  the 
opportunity  presents  itself,  he  resumes  his  love- 
making,  but  it  is  interrupted  by  the  arrival  of 
Lydia,  whose  noble  rank  Vladimir  learns  for  the 
first  time.  Any  danger  of  recognition,  however, 
is  averted  by  the  correspondent,  who  tells  Lydia 
that  Fatinitza  is  Vladimir's  sister.     The  dotinsr  old 


22  2       THE   STANDARD  LIGHT  OPERAS. 

General  commends  Fatinitza  to  the  Princess,  and 
goes  off  to  inspect  his  troops.  In  his  absence 
some  Bashi-Bazouks  surprise  the  camp  and  capture 
Lydia,  Vladimir,  and  Julian,  leaving  the  latter  be- 
hind to  arrange  a  ransom. 

The  second  act  opens  in  the  harem  of  Izzet 
Pasha,  governor  of  the  Turkish  fortress.  Vladimir, 
in  his  female  attire,  and  Lydia  are  brought  in  as 
captives,  and  the  Pasha  announces  to  his  four 
wives  that  Lydia  will  be  the  fifth.  Julian  then 
arrives  with  the  Russian  sergeant,  Steipann,  to 
arrange  for  the  release  of  his  friends.  The  Pasha 
offers  to  give  up  Fatinitza,  but  declares  he  will  re- 
tain Lydia.  Steipann  returns  to  the  General  with 
the  Pasha's  terms,  carrying  also  a  secret  message 
from  Julian,  who  has  discovered  how  the  Russians 
may  capture  the  Turks.  Julian  remains  with  the 
Pasha,  who  gives  him  many  entertainments,  among 
them  a  shadow  pantomime,  during  which  the  Gen- 
eral and  his  soldiers  rush  in  and  rescue  their 
friends. 

The  third  act  opens  in  the  General's  summer 
palace  at  Odessa.  He  has  promised  his  niece  to 
an  old  and  crippled  friend  of  his,  but  Julian  once 
more  straightens  out  matters  by  convincing  the 
General  that  the  real  Fatinitza  has  died  of  grief 
because  she  was  separated  from  him.  Thereupon 
he  consents  to  his  niece's  union  with  Fatinitza's 
brother,  Vladimir. 

The  principal  numbers  of  the  first  act  are 
Vladimir's  romance,  in  the  sentimental  vein,  "  Lost 


FATINITZA.  223 

is  the  Dream  that  bound  me " ;  the  reporter's 
(Julian)  jolly  descriptive  song,  *'  With  my  Note- 
book in  my  Hand  "  ;  the  pompously  martial  en- 
trance song  of  General  Kantschakoff,  "  Thunder  ! 
Lightning!  who  goes  there?"  which  forcibly  re- 
calls General  Bourn's  "  Pif,  paf,  pouf "  song  in 
Offenbach's  ''  Grand  Duchess  "  ;  Lydia's  sleighing- 
song,  "  When  the  Snow  a  Veil  is  flinging  "  ;  and 
the  quartette  in  the  next  scene, "  Not  a  Look  shall 
tell,"  in  the  mock  Italian  style.  The  second  act 
opens  with  the  characteristic  toilet  chorus  in  the 
harem,  "  Washing,  dressing,  brushing,  combing." 
The  remaining  most  striking  numbers  are  Izzet's 
song  and  dance,  "  I  pine  but  for  Progress  " ;  the 
pretty  duet  for  Vladimir  and  Lydia,  "  New  Doubts, 
New  Fears";  the  effective  sextette,  '''Tiswell; 
then  learn  that  this  young  Russian"  ;  the  brilliant 
kismet  duet  for  Izzet  and  Julian,  "  We  are  sim- 
ply what  Fortune  pleases "  ;  the  sextette  in  the 
finale,  "  Silver  Tinklings,  ringing  brightly,"  known 
as  the  Bell  Sextette ;  and  the  characteristic  music 
to  the  Karagois,  or  Turkish  shadow  pantomime, 
which  forms  a  second  finale.  The  leading  num- 
bers of  the  last  act  are  Lydia's  bell  song,  **  Chime, 
ye  Bells,"  accompanied  by  the  ringing  of  bells  on 
the  stage,  and  distant  shots ;  the  trio  for  Lydia, 
Vladimir,  and  Julian,  "Again,  Love,  we  meet," 
which  is  one  of  the  most  effective  bits  in  the 
opera ;  and  the  brilliant  closing  chorus,  "  Joy, 
Joy,  Joy,  to  the  Bride." 


2  24        THE  STANDARD  LIGHT  OPERAS. 


Boccaccio. 

[  Opera  comique,  in  three  acts  ;  text  by  Zcll  and  Genee.  First 
produced  at  the  Carl  Theatre,  Vienna,  February  i,  1879.] 

PERSONAGES. 

Boccaccio,  novelist  and  poet. 

Leonetto,  his  friend  and  student. 

PiETRO,  Prince  of  Palermo. 

LUTTERINGHI,  a  cooper. 

Lambertuccio,  a  grocer. 

ScALZA,  a  barber. 

Fratelli,  a  bookseller. 

Checco,  a  beggar. 

Fresco,  the  cooper's  apprentice. 

FiAMETTA,  Lambertuccio's  adopted  daughter. 

Beatrice,  Scalza's  daughter. 

Isabella,  Lutteringhi's  wife. 

Peronella,  Lambertuccio's  sister. 

FiLIPPA. 
Or  ETTA. 

[Beggars,  students,  citizens,  coopers,  courtiers,  etc.] 

The  scene  is  laid  in  Florence ;  time,  near  the  close  of  the  four- 
teenth century. 

SuPPE  is  fond  of  introducing  real  characters 
among  the  personages  of  his  operas,  and  in  this  one, 
which  has  become  such  a  flivorite,  sharing  equally 
in  popularity  with  "  Fatinitza,"  we  find  Boccaccio 
of  the  "  Decameron,"  and  the  Fiametta  whom  he 
has  immortalized  in  it  (the  Princess  Maria  of 
Naples,  with  whom  he  fell  violently  in  love)  mas- 
querading as  the  adopted  daughter  of  Lamber- 
tuccio, the  grocer.     In  the   opera  he  is  rewarded 


BOCCACCIO.  225 

with  her  hand  in  the  finale.  In  reality,  Maria,  the 
Fiametta  of  the  **  Decameron,"  was  already  the 
wife  of  another  when  Boccaccio  was  enamoured  of 
her.  She  died  long  before  her  lover,  but  her 
memory  was  cherished  by  him,  as  in  the  case  of 
Beatrice  and  Dante,  and  to  her  we  owe  undoubt- 
edly the  collection  of  tales  in  the  '*  Decameron  " 
which  furnished  such  abundant  material  to  subse- 
quent poets,  story-tellers,  and  dramatists. 

The  story  of  the  opera  is  a  simple  one.  Pietro, 
the  Prince  of  Palermo,  is  to  be  married  to 
Fiametta  in  accordance  with  the  wishes  of  his 
father,  and  goes  to  Florence  for  that  purpose. 
The  Duke,  her  father,  for  reasons  of  his  own,  has 
had  her  reared  as  the  adopted  daughter  of  Lam- 
bertuccio,  a  grocer,  who  was  not  aware  of  her 
royal  birth  and  intends  that  she  shall  marry  Pietro, 
to  whom  she  was  betrothed  in  infancy.  On  his 
way  to  Florence  Pietro  falls  in  with  a  madcap 
lot  of  students,  whose  leader  is  Boccaccio,  and  he 
joins  them  in  many  of  their  pranks.  Boccaccio 
himself  has  incurred  the  anger  of  the  Florentine 
men  for  having  ridiculed  them  in  his  stories,  and 
he  too  is  in  love  with  Fiametta.  Pietro  among 
his  other  adventures  has  made  love  to  a  married 
woman  whom  the  students  induced  him  to  believe 
was  the  niece  instead  of  the  wife  of  Lutteringhi, 
the  cooper.  He  has  the  misfortune  before  pre- 
senting himself  to  the  Duke  and  Fiametta  to  be 
mistaken  for  Boccaccio  and  to  receive  a  sound 
beating.  In  the  denouement,  when  he  is  about 
15 


2  26        THE  STANDARD  LIGHT  OPERAS. 

to  be  united  to  Fiametta  for  reasons  of  state, 
Boccaccio,  knowing  that  he  is  loved  by  her,  ar- 
ranges a  play  in  which  the  misdeeds  of  Pietro  are 
set  forth  in  such  strong  light  that  she  refuses  the 
latter  and  gives  her  hand  to  the  poet. 

The  most  popular  numbers  in  the  opera  are  the 
serenade  to  Beatrice,  "  Lovely  Charmer,  hear  these 
Sounds  "  ;  Boccaccio's  song  with  chorus,  *'  I  see  a 
Gay  Young  Fellow  standing  nigh  "  ;  the  charming 
duet  for  Fiametta  and  Peronetta,  "  Listen  to  the 
Bells'  Sweet  Chime  "  ;  Fiametta's  romanza,  ''  If  I 
have  but  Affection  "  ;  the  duet  for  Boccaccio  and 
Fiametta,  "  A  Poor  Blind  Man  implores  your  Aid  "  ; 
Leonetto's  song,  opening  the  second  act,  "The 
Girl  of  my  Heart 's  a  Treasure  "  ;  the  cooper's  rol- 
licking song,  "  My  Wife  has  a  Scolding  Tongue  "  ; 
the  coquette  song  by  Isabella,  "  Young  Maidens 
must  beware  "  ;  the  "  cretin  "  song  by  Boccaccio, 
"  When  they  ask  me  for  the  News  "  ;  the  graceful 
waltz  song  by  Fiametta,  "  Blissful  Tidings,  reas- 
suring " ;  the  rollicking  drinking-song  of  Pietro, 
"  See  the  Goblet  flash  and  sparkle  "  ;  the  duet  for 
Boccaccio  and  Fiametta,  "  Mia  bella  fiorentina," 
in  the  Italian  style ;  and  the  sextette,  "  Ye  Fool- 
ish Men,"  which  leads  up  to  the  finale  of  the  last 
act. 


THE  BEAUTIFUL    GALATEA.  227 


SEfje  Beautiful  (Galatea. 

[Op6ra  comique,  in  two  acts  ;  text  by  Zell  and  Gen^e.   First  pro- 
duced in  Vienna,  1865.] 

PERSONAGES. 

Galatea,  the  statue. 
Ganymede,  Greek  boy. 
Pygmalion,  sculptor. 
Midas,  art  patron. 
[Chorus  of  Grecians.] 

The  scene  is  laid  in  Greece  ;  time,  mythological. 

The  opera  of  "Die  Schone  Galatea"  ("The 
Beautiful  Galatea"),  though  of  slight  construction, 
is  one  of  Suppe's  most  melodious  works,  while  the 
story  is  a  clever  setting  of  the  familiar  mythological 
romance  in  a  somewhat  modern  frame,  in  which  re- 
spect it  resembles  the  stories  of  Helen  of  Troy  and 
Orpheus  and  Eurydice,  which  Offenbach  so  cleverly 
travestied.  The  first  act  opens  with  a  graceful  cho- 
rus of  Grecians  on  their  way  to  worship  at  the  temple 
of  Venus,  at  dawn  ("  Aurora  is  awaking  in  Heaven 
above ").  Ganymede,  Pygmalion's  servant,  de- 
clines to  go  with  them,  preferring  to  sleep,  and 
bids  them  good-by  with  a  lullaby  ("  With  Violets, 
with  Roses,  let  the  Temple  be  decked ").  His 
master,  Pygmalion,  who  has  finished  a  statue  of 
Galatea,  his  ideal,  also  goes  to  the  temple,  and 
Ganymede  decides  to  take  a  nap.  His  slumbers 
are  interrupted,  however,  by  Midas,  a  professional 


2  28   THE  STANDARD  LIGHT  OPERAS. 

art  patron,  wlio  has  heard  of  the  statue  and  informs 
Ganymede  that  he  is  ready  to  buy  it,  but  first 
wishes  to  see  it.  The  servant  declares  it  is  im- 
possible, as  his  master  is  in  love  with  it.  Midas 
makes  a  further  appeal  to  him  in  a  long  descriptive 
arietta  ("My  Dear  Father  Gordias")  in  which  he 
boasts  of  his  abilities,  his  patronage,  and  his  con- 
quests. He  finally  bribes  Ganymede  to  show  it  to 
him,  and  as  he  stands  gazing  at  it  and  praising  its 
loveliness,  Pygmalion,  who  has  suddenly  returned, 
enters  and  upbraids  them.  After  a  spirited  trio, 
"  Boiling  Rage  I  feel  within  me,"  Ganymede  takes 
to  his  heels  and  Midas  is  driven  out.  When 
Pygmalion  is  alone  with  the  statue,  a  sudden  im- 
pulse moves  him  to  destroy  it  because  it  has  been 
polluted  by  Midas's  glances,  but  his  hand  is  stayed 
as  he  hears  the  chorus  of  the  returning  worship- 
pers, and  he  makes  an  impassioned  appeal  to 
Venus  ("  Venus,  oh,  see,  I  fly  to  thee  ")  to  give 
life  to  the  marble.  Venus  answers  his  prayer. 
The  statue  comes  to  life,  and  Galatea  falls  in  love 
with  Pygmalion,  the  first  man  she  has  seen,  which 
gives  an  opportunity  for  a  charming  number,  the 
Awakening  Duet  ("  I  feel  so  warm,  so  sweet"), 
and  for  a  solo  closing  the  act  (''  Lightly  sways  and 
gently  sweeps"). 

The  second  act  opens  with  the  couplets  of 
Ganymede  ("We  Grecians"),  at  the  close  of 
which  he  espies  Galatea  gathering  flowers.  As 
soon  as  the  fickle  Galatea  sees  Ganymede,  she  falls 
in  love  with  him  because  he  is  younger  and  hand- 


THE  BEAUTIFUL    GALATEA.  229 

somer  than  Pygmalion.  As  they  are  discoursmg 
admiringly,  Midas  appears  and  recognizes  Galatea, 
and  proceeds  to  woo  her  with  offers  of  jewels.  A 
pretty  trio  follows,  **  See  the  Trinkets  I  have 
brought  you."  She  accepts  his  trinkets  and  his 
money,  but  declines  to  accept  him.  As  they  are 
negotiating,  Pygmalion  returns.  Ganymede  once 
more  takes  to  his  heels,  and  Galatea  conceals 
Midas  by  putting  him  on  the  pedestal  behind  the 
screen  where  she  had  stood.  She  then  hides  her 
jewels,  and  tells  Pygmalion  she  is  hungry.  Gany- 
mede is  summoned  and  arranges  the  table,  and 
they  sit  down,  the  servant  with  them  at  Galatea's  re- 
quest. She  sings  a  brilliant  drinking-song  ("  Bright 
in  Glass  the  Foaming  Fluid  pass  "),  in  which  Pyg- 
malion and  Ganymede  join.  During  the  banquet 
Midas  is  discovered  behind  the  screen,  and  Pyg- 
malion also  learns  of  Galatea's  fickle  conduct 
later,  when  he  surprises  her  and  Ganymede  in  a 
pretty  love  scene  ("Ah,  I'm  drawn  to  Thee"). 
By  this  time  Pygmalion  is  so  enraged  that  he  prays 
Venus  to  let  her  become  a  statue  again.  The 
goddess  graciously  consents,  and  the  sculptor 
promptly  gets  rid  of  Galatea  by  selling  her  to 
Midas. 


THOMAS,   CHARLES  AMBROISE. 
;p:i3:non. 

[OpSra  comique,  in  three  acts  ;  text  by  Barbier  and  Carr6.    First 
produced  at  the  Op6ra  Comique,  Paris,  November  17,  1866.] 

PERSONAGES. 
MiGNON. 

WiLHELM  Meister,  a  studeiit. 

Laertes,  an  actor. 

Frederic,  an  admirer  of  Filina. 

LoTARio,  Mignon's  father  in  disguise  of  a  harper. 

Filina,  an  actress. 
[Actors,  gypsies,  etc.] 
The  scene  is  laid  in  Germany  and  Italy  ;  time,  the  last  century. 

THE  story  of  "  Mignon,"  Thomas's  universally- 
popular  opera,  is  based  upon  Goethe's  **  Wil- 
helm  Meister."  Mignon,  the  heroine,  who  is  of 
noble  birth,  was  stolen  in  her  childhood  by  gyp- 
sies. Her  mother  died  shortly  afterwards,  and  her 
father,  disguised  as  Lotario,  the  harper,  has  long 
and  vainly  sought  for  her.  At  the  opening  of  the 
opera,  a  strolling  band  of  actors,  among  them 
Filina  and  Laertes,  arrive  at  a  German  inn  on 
their  way  to  the  castle  of  a  neighboring  prince, 
where  they  are  to  perform.  At  the  same  time  a 
gypsy  band  appears  and  arranges  to  give  the 
guests  an  entertainment.  Mignon,  who  is  with 
the  band,  is  ordered  to  dance,  but  being  tired,  she 


MIGNON.  231 

refuses.     The   leader  of  the  band  rushes  at  her, 
but  Lotario,  the  old  harper,  intercedes  in  her  be- 
half, whereupon  he  is  singled  out  for  assault,  but  is 
saved  by  the  wandering  student,  Wilhelm  Meister. 
To  spare  her  any  further  persecution,  he  engages 
her  as  his  page,  and  they  follow  on  in  the  suite  of 
Filina,  to  whom  he  is  devoted.     Touched  by  his 
kindness  to  her,  Mignon  falls   in   love   with  him  ; 
but   he,  ignorant   of  her   passion,  becomes    more 
and  more  a  victim  to    the  actress's    fascinations. 
When   they  arrive   at   the  casde,  all  enter   except 
Mignon,  who  is  left  outside.     Maddened  by  jeal- 
ousy, she  is  about  to  drown  herself,  but  is  restrained 
by  the  notes  of  Lotario's    harp.     She    rushes    to 
him  for  counsel,  and  invokes  vengeance  upon  all  in 
the   castle.     After    the   entertainment   the  guests 
come  out,  and   Filina  sends  Mignon  in  for  some 
flowers  she  has  left.     Suddenly  flames  appear  in 
the  window.     Lotario  has  fired  the   castle.     Wil- 
helm   rushes    in    and    brings    out   the  insensible 
Mignon  in  his  arms.    In  the  denouement  Wilhelm 
discovers  her  attachment  to  him,  and  frees  himself 
from  Filina's  fascinations.     A  casket  containing  a 
girdle  Mignon  had  worn  in   childhood,  a    prayer 
which  she  repeats,  and  the  picture  of  her  mother 
convince  Lotario  that  she    is    his    daughter,   and 
Wilhelm  and  Mignon  are  united. 

The  leading  numbers  of  the  first  act  are  the 
quintette  immediately  following  the  rescue  of 
Mignon  by  Wilhelm  ;  the  romanza,  "  Non  conosci 
il  bel  suol  "  ("  Know'st  thou  the  Land  "),  a  song 


232        THE  STANDARD  LIGHT  OPERAS. 

full  of  tender  beauty  and  rare  expression ;  the 
duet  which  immediately  follows  it,  "  Leggiadre 
rondinelli"  ("Oh,  Swallows  Blithe"),  known  as 
the  Swallow  Duet,  and  of  almost  equal  beauty  with 
the  romanza :  and  the  graceful  aria,  "  Grazia  al 
gentil  signore "  ("You'll  come  with  us"),  in 
which  Filina  invites  Wilhelm  to  join  them.  The 
best  numbers  in  the  second  act  are  the  trio, 
"  Ohime  quell'  acre  riso "  ("Alas!  her  Bitter 
Laugh ")  ;  Filina's  gay,  coquettish  aria,  "  Gai 
comphmenti"  ("Brilliant  Compliments")  ;  Mig- 
non's  exquisite  and  characteristic  song,  "  Conosco 
un  zingarello "  ("  A  Gypsy  Lad  I  well  do 
know "),  which  the  composer  himself  calls  the 
"  Styrienne  "  ;  a  bewitching  rondo-gavotte,  "  Ci 
sono  "  ("  I  'm  here  at  last  "),  sung  by  the  love-lorn 
Frederic ;  Wilhelm's  pathetic  farewell  to  Mignon, 
"  Addio,  Mignon  !  fa  core  "  ("  Farewell,  Mignon, 
take  Heart  ") ;  the  beautiful  duet  for  Mignon  and 
Lotario,  "  Sofferto  hai  tu  "  ("Hast  thou  e'er  suf- 
fered"); and  the  polacca  in  the  fourth  scene, 
which  is  a  perfect/^//  de  joie  of  sparkling  music, 
closing  with  an  extremely  brilliant  cadenza.  The 
last  act  is  more  dramatic  than  musical,  though  it 
contains  a  few  delightful  numbers.  Among  them 
are  the  chorus  barcarole  in  the  first  scene,  "  Orsu, 
scioglian  le  vele  "  ("  Quick,  the  Sails  unfurl ")  ;  a 
son  by  Wilhelm,  "  Ah,  non  credea  "  ("  Ah,  little 
Thought"  ),  and  the  love  duet,  "Ah,  son  felice  " 
("Ah,  I  am  happy "),  in  which  is  heard  again 
the  cadenza  of  Filina's  polacca. 


WALLACE,   WILLIAM   VINCENT. 
;Plaritatta» 

[Romantic  opera,  in  three  acts  ;  text  by  Fitzball.      First  pro- 
duced at  Drury  Lane  Theatre,  London,  November  15, 1S45.] 

PERSONAGES. 

Charles  the  Second,  King  of  Spain. 

Don  Jose  de  Santarem,  his  minister. 

Don  C^sar  de  Bazan. 

Marquis  de  Montefiori. 

Lazarillo. 

Maritana,  a  gitana. 

Marchioness  de  Montefiori. 
[Nobles,  alquazils,  soldiers,  gypsies,  populace,  etc.] 
The  scene  is  laid  in  Madrid ;  time  of  Charles  the  Second. 

THE  Story  of  '^  Maritana  "  is  founded  upon  the 
well-known  play  of  "  Don  Caesar  de  Bazan." 
At  the  opening  of  the  first  act  a  band  of  gypsies, 
Maritana  among  them,  are  singing  to  the  people. 
The  young  King  Charles  listening  to  her  is  fas- 
cinated by  her  beauty.  Don  Jos^,  for  reasons  of 
his  own,  extols  her  charms  and  arouses  lier  hopes 
for  a  brilliant  future.  At  this  point  Don  Caesar 
de  Bazan,  a  reckless,  rollicking  cavalier,  once  a 
friend  of  Don  Jos6,  makes  his  appearance.  He 
has  parted  with  the  last  of  his  money  to  gamblers, 
and  while  he  is  relating  his  misfortunes  to  Don 


234        THE  STANDARD  LIGHT  OPERAS. 

Jos6,  Lazarillo,  a  forlorn  lad  who  has  just  tried  to 
make  away  with  himself,  accosts  Don  Caesar  and 
tells  him  a  piteous  tale.  The  Don  befriends,  and 
thereby  becomes  involved  in  a  duel.  This  leads 
to  his  arrest  for  duelling  in  Holy  Week,  which  is 
forbidden  on  pain  of  death.  While  Don  Caesar 
sets  off  for  the  prison,  Don  Jos6  promises  Mari- 
tana  speedy  marriage  and  presentation  at  court. 
The  second  act  opens  in  the  prison.  Don  Josd 
enters,  and  professes  great  sympathy  for  Don 
Caesar.  When  asked  if  he  has  any  last  request, 
he  begs  to  die  like  a  soldier.  Don  Jos^  agrees 
that  he  shall  not  die  an  ignominious  death  if  he 
will  marry.  He  consents,  and  is  also  treated  to 
a  banquet,  during  which  Lazarillo  delivers  a  paper 
to  Don  Jose  containing  the  royal  pardon  of  Don 
Caesar,  but  Don  Jos6  conceals  it.  Maritana,  her 
features  disguised  by  a  veil,  is  married  to  the  Don, 
but  at  the  expiration  of  an  hour  he  is  led  out  to 
meet  his  fate.  The  soldiers  fire  at  him,  but  he 
escapes,  as  Lazarillo  has  managed  to  abstract  the 
bullets  from  their  guns.  He  feigns  death,  and 
when  the  opportunity  presents  itself  hurries  to  a 
ball  at  the  Montefiori  palace,  and  arrives  just  as 
the  Marquis,  who  has  had  his  instructions  from  Don 
Jos^,  is  introducing  Maritana  as  his  niece.  Don 
Caesar  demands  his  bride,  but  Don  Jos^  arranges 
with  the  Marquis  to  present  him  with  the  Mar- 
chioness closely  veiled.  The  scheme  does  not 
work,  as  Don  Caesar  hears  Maritana's  voice  and 
claims  her,  but  she  is  quickly  spirited  away. 


MARITANA.  235 

The  last  act  finds  Maritana  in  a  royal  apart- 
ment. Don  Jos^  carries  out  his  plot  by  intro- 
ducing the  King  to  her  as  her  husband.  At  this 
juncture  Don  Caesar  rushes  in.  The  King  in  a 
rage  demands  to  know  his  errand.  He  replies 
that  he  is  seeking  the  Countess  de  Bazan,  and 
with  equal  rage  demands  to  know  who  he  (the 
King)  is.  When  the  King  in  confusion  answers 
that  he  is  Don  Caesar,  the  latter  promptly  replies, 
"  Then  I  am  the  King  of  Spain."  Before  further 
explanations  can  be  made,  the  King  is  summoned 
by  the  Queen.  Don  Caesar  and  Maritana  consult 
together,  and  he  decides  to  appeal  to  the  Queen. 
While  waiting  for  her  in  the  palace  garden,  he 
overhears  Don  Jos6  telling  her  that  the  King  is 
to  meet  his  mistress  that  night.  Don  Caesar  de- 
nounces him  as  a  traitor,  and  slays  him.  The 
King,  when  he  hears  of  Don  Caesar's  loyalty,  con- 
signs Maritana  to  him,  and  appoints  him  Governor 
of  Valencia. 

The  opera  is  full  of  bright,  melodious  music. 
The  principal  numbers  in  the  first  act  are  Mari- 
tana's  song,  ''  It  was  a  Knight  of  Princely  Mien  " ; 
the  romanza  which  she  sings  for  Don  Jos^,  *'  'T  is 
the  Harp  in  the  Air";  the  duet  between  Don 
Jos6  and  Maritana,  "Of  Fairy  Wand  had  I  the 
Power";  Don  Caesar's  rollicking  drinking-song, 
*' All  the  World  over  "  ;  and  the  delightful  chorus, 
"  Pretty  Gitana,  tell  us  what  the  Fates  decree." 
The  first  scene  of  the  second  act  is  a  mine  of 
charming  songs,  including  Lazarillo's,  "  Alas  !  those 


236       THE  STANDARD  LIGHT  OPERAS. 

Chimes  "  ;  the  trio,  "  Turn  on,  Old  Time,  thine 
Hourglass " ;  Don  Caesar's  stirring  martial  air, 
*'Yes,  let  me  like  a  Soldier  fall";  the  senti- 
mental ballad,  "  In  Happy  Moments,  Day  by 
Day  "  ;  and  the  quartette  and  chorus  closing  the 
scene,  "Health  to  the  Lady,  the  Lovely  Bride." 
The  next  scene  contains  a  pretty  chorus  in  waltz 
time,  *'  Ah  !  what  Pleasure,"  followed  by  an  aria 
sung  by  the  King,  *'The  Mariner  in  his  Bark," 
and  the  act  closes  with  a  very  dramatic  ensemble, 
"  What  Mystery  must  now  control."  The  lead- 
ing numbers  of  the  last  act  are  Maritana's  song, 
"  Scenes  that  are  Brightest,"  one  of  the  most  ad- 
mired of  all  English  songs  ;  the  love  duet  between 
Don  Caesar  and  Maritana,  "This  Heart  with  Bliss 
O'erflowing  "  ;  and  Don  Caesar's  song,  "  There  is 
a  Flower  that  bloonieth,"  which  is  in  the  senti- 
mental ballad  style. 

lurline. 

[Romantic  opera,  in  three  acts  ;  text  by  Fitzball.     First  pro- 
duced at  Covent  Garden  Theatre,  London,  February  23,  i860.] 

PERSONAGES. 

Count  Rudolph,  a  young  nobleman. 

WiLHELM,  his  friend. 

Rhineberg,  the  river  King. 

Baron  Truenfels. 

Zelleck,  a  gnome. 

Conrad. 

Adolph. 

Lurline,  nymph  of  the  Luriei-Berg. 


LURLINE.  237 

Ghiva,  the  Baron's  daughter. 
LiBA,  a  spirit  of  the  Rhine. 
[Vassals,  conspirators,  pages,  water  spirits.] 

The  scene  is  laid  on  the  banks  and  in  the  waters  of  the  Rhine  ; 
time,  the  present. 

The  Story  of  "  Lurline  "  closely  follows  the  old 
legend  of  the  "  Lorelei."  Count  Rudolph,  having 
dissipated  his  fortune,  proposes  marriage  with 
Ghiva,  daughter  of  a  neighboring  baron,  to  recoup 
himself.  The  Baron,  however,  turns  out  to  be  as 
poor  as  the  Count,  and  nothing  comes  of  the  propo- 
sition. Meanwhile  Lurline,  the  Rhine  nymph, 
has  seen  the  Count  sailing  on  the  river  and  fallen 
in  love  with  him.  At  the  last  banquet  he  and 
his  companions  give  in  the  old  castle,  she  appears, 
weaves  spells  about  him,  places  a  magic  ring  on 
his  finger,  and  then  disappears.  When  he  comes 
to  his  reason,  he  finds  himself  enamoured  of  her, 
follows  the  notes  of  her  harp  on  the  Rhine,  and 
is  engulfed  in  the  whirlpool  to  which  Lurline 
allures  her  victims. 

The  second  act  opens  in  Lurline's  cavern  under 
the  Rhine,  and  Rudolph  is  there  by  virtue  of 
his  magic  ring.  He  hears  his  friends  singing 
and  mourning  his  loss  as  they  sail  on  the  river, 
and  is  so  touched  by  it  that  he  implores  per- 
mission to  return  to  them  for  a  short  time. 
Lurline  consents  to  his  absence  for  three  days, 
and  agrees  to  wait  for  him  on  the  summit  of 
the  Lurlei-Berg  at  moonrise  on  the  third  evening. 
She    also   prevails    upon    her    father,    the    Rhine 


238        THE  STANDARD  LIGHT  OPERAS. 

King,  to  give  him  treasures,  with  which  he  embarks 
in  a  fairy  skiff,  leaving  LurUne  dejected. 

In  the  last  act  Rudolph  discloses  to  the  Baron 
and  his  daughter,  as  well  as  to  his  companions, 
the  secret  of  his  wealth.  The  Baron  once  more 
encourages  his  suit,  and  the  crafty  Ghiva  steals 
the  magic  ring  and  throws  it  into  the  Rhine. 
In  the  mean  time  Lurline  waits  nightly  on  the 
Lurlei-Berg  for  the  return  of  her  lover,  and  there 
a  gnome  brings  to  her  the  ring,  token  of  his 
infideHty.  Distracted  between  grief  and  anger, 
she  determines  to  reproach  him  with  his  perfidy 
at  a  banquet  in  the  castle  ;  she  suddenly  appears, 
and  demands  her  ring  from  him.  A  scene  of 
bitter  reproaches  ensues,  ending  with  her  de- 
nunciation of  his  companions'  treachery.  Grow- 
ing envious  of  the  Count's  wealth,  they  had 
conspired  to  destroy  him  and  then  plunder  the 
castle.  Ghiva  and  her  father,  overhearing  the 
plot,  reveal  it  to  the  Count  and  urge  him  to 
escape  by  flight.  Rudolph,  however,  preferring 
death  near  Lurline,  confronts  the  assassins.  Love 
returns  to  Lurline  once  more.  She  strikes  her 
harp  and  invokes  the  Rhine,  which  rises  and 
engulfs  the  conspirators.  When  the  waves  sub- 
side, the  Rhine  King  appears  and  gives  the  hand 
of  his  daughter  to  the  Count. 

The  principal  numbers  of  the  first  act  are 
Rhineberg's  invocation  aria,  "Idle  Spirit,  wildly 
dreaming " ;  Lurline's  beautiful  romanzas  with 
harp  accompaniment,  "  Flow  on,  flow  on,  O  Silver 


LURLTNE.  239 

Rhine,"  and  "  When  the  Night  Winds  sweep  the 
Wave  " ;  the  melodious  chorus,  "  Sail,  sail,  sail  on 
the  Midnight  Gale  "  ;  the  drinking-song,  "  Drain 
the  Cup  of  Pleasure  "  ;  the  quaint  tenor  song, 
"  Our  Bark  in  Moonlight  beaming " ;  and  the 
vigorous  chorus  of  the  gnomes  in  the  finale,  "  Ven- 
geance, Vengeance."  The  second  act  opens  with 
the  gnomes'  song,  "Behold  Wedges  of  Gold." 
The  remaining  conspicuous  numbers  are  the 
Count's  song,  "  Sweet  Form  that  on  my  Dreamy 
Gaze " ;  Lurline's  brilliant  drinking-song  with 
chorus,  "  Take  this  Cup  of  Sparkhng  Wine  " ; 
Ghiva's  ballad,  for  contralto,  "  Troubadour  En- 
chanting " ;  the  breezy  hunting-chorus,  "  Away 
to  the  Chase,  come  away " ;  Rhineberg's  senti- 
mental song,  "  The  Nectar  Cup  may  yield  De- 
light "  j  and  the  ensemble  in  the  finale,  which 
is  in  the  genuine  Italian  style.  The  third  act 
is  specially  noticeable  for  the  ballad  sung  by 
Rudolph,  "  My  Home,  my  Heart's  first  Home  "  ; 
Lurline's  song  on  the  Lurlei-Berg,  "  Sweet  Spirit, 
hear  my  Prayer,"  which  has  been  a  great  favorite 
on  the  concert  stage  ;  the  unaccompanied  quartette, 
"  Though  the  World  with  Transport  bless  me  " ; 
tke  grand  duet,  "Lurline,  my  Naiad  Queen," 
and  the  incantation  music  and  closing  chorus, 
"  Flow  on,  thou  Lovely  Rhine." 


t 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

MUSIC  LIBRARY 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Renewed  books  are  subjea  to  immediate  recall. 


JAfii.j_ 


1S53 


REC'D  MUS 


JAN  1 0  1S39 


l^lAi   17    1980 


jm 


Rfe^i^ 


^Jtmim36ij 


LD  21-50m-8,T.7 
(,C8481sl0)476 


General  Library 
University  of  Califorr 
Berkeley 


1 


MT95.U57 
C037149277 


U.C.  BERKELEY  LIBRARIES 


CD37m^E77 


DATE  DUE 


Music  Library 

University  of  California  at 
Berkeley 


